The Trinity Cathedral is the central part of the ancient architectural ensemble of the Ipatiev Monastery in Kostroma. In 1560, with the funds of D. I. Godunov, the first stone church of the monastery was built, which, according to the 1628 Census Book, was a two-pillar structure with chapels in honor of the Apostle Philip and the Holy Martyr Hypatius. In 1649, the old cathedral was destroyed due to an explosion of gunpowder stored in its undercroft. This stock likely remained after the siege of the monastery during the Time of Troubles. By the decree of Tsar Alexei Mikhailovich, a new church was built on its site from 1650 to 1652, preserving the previous consecrations of the chapels. At the end of the 17th century, a chapel dedicated to Michael Malein was added to the southeast of the church.

The cathedral is a large four-pillar three-apsidal church with a tented roof, standing on a powerful undercroft and topped with five bulbous domes on light drums. It is surrounded on three sides by two-tiered galleries. At the end of the southern gallery is the chapel of Michael Malein, which does not have an altar projection. Its roof consists of eight slopes with gentle pediments, and the top is adorned with a bulbous dome on a blind drum, the lower part of which is decorated with semi-circular kokoshniks. The facade of the cathedral is modest but typical of mid-17th century architecture. The walls are divided by smooth pilasters into three bays, and the multi-profiled cornice, supported above the pilasters, cuts off the gentle arches of the tented roof. Narrow arched windows, located on the western facade with one in each bay, and on the side facades in a more free rhythm, are placed in deep embrasures without trim. The window openings on the northern facade, facing the main entrance to the monastery, are included in the composition of an arcature-columned belt that decorates the wall. Keel-shaped arches made of rolls resting on columns with necking decorate the drums of the domes. The semi-circles of the apses are separated by faceted columns protruding from the walls. The cornice of the altar part of the church, combined with the chapel of Michael Malein, is complicated by bands of runners and crackers. In the lower part of the walls, it is echoed by the outlined breaks of the profiled base, separating the undercroft from the main volume. The windows of the apses are framed with perspective trim with keel-shaped outlines. Unlike the sparse decoration of the walls of the main volume, the decor of the galleries is more ornate. A profiled base runs along the bottom of the walls, and the tiers are separated by a wide belt with strips that also decorate the pilasters, dividing the wall into even bays, each containing a window. Special attention is paid to the decor of the gallery on the northern facade. The strips, window trim, and cornices are complemented by white stone carvings: rosettes, bead strips, and carved braids. The grand entrance with a porch on the right flank of the northern facade is supported by four decorated columns with powerful capitals, bearing hanging arches with weights. At the base of the octagonal tent that crowns the structure is a chain of small keel-shaped kokoshniks. The high staircase rests on creeping arches.