This modest size was perceived as surprisingly holistic: the lateral aisles were fused with the space under the dome by means of the columns which stand close to the walls.

The narthex was added with the round-shaped stair tower from the north-west corner: it provides access to the choir loft on the second floor.

To balance the design, the building is complemented with the third dome on the south-east corner; it also serves to provide extra light.

New decorations are executed in a style typical for Russian culture of the 19th century and differ greatly from canons of the orthodox iconography.

One more feature is numerous reverends painted full-length on all the sides of altar columns: the quantity of pictures is surprisingly good.

The frescoes on the northern apse (a prothesis) were dedicated to the seed of the woman, i.e. the tale about the birth and the childhood of the Virgin.

Bringing this scene in the middle of the apse is intended to signify the preparation of the Holy Sacrament for the liturgy.

Some part of the scene showing Herod's feast is preserved, and the figure of seated Herodias while presented the severed head of the Prophet.

Even the small retained fragment imply that Dormition was represented in some special, extended variant: it shows the apostles who are moving from clouds towards the Our Lady's deathbed.

The decorations at western sides of the eastern columns (i.e. the frescoes which were turned towards the congregation in the mainspace) are the best preserved in all the church.

According to the tradition, the figures of Gabriel and Our Lady are painted on separate columns: that is supposed to create an impression of the scene to take place in the church's space.

The figures of the Holy Unmercenaries (Florus and Laurus, Cyrus and John) are placed under the picture of the Annunciation.

Incomplete disclosure of the ancient frescoes was the barrier for the scholars to perceive the style in an adequate manner.

The pattern to model volumetric faces, but to paint clothes which seem to be flat is common for the frescoes in all the mentioned churches.

At the same time, the characters in the Church of the Nativity look much more dynamic and active due to detailed and intensively-drawn faces.

The figures make the impression of emotional openness and some exaltation: these are the new trends in Byzantine art of the period, which will be well-implemented in Novgorod culture afterwards.

This contrasting between the static figures and the inner dynamism of their characters is indicated in colours too: dark blue backgrounds are combined with bright yellow haloes, and dark clothes of monks are complemented with pink, azure and lime coloured ones[5] The stair tower jointed with the church was multi-functional in ancient times.

The pictures retained at the interior walls are of much more interest as they are made by monks themselves and don't form some holistic composition.

For instance, the picture of a lion with sad human face and a tail tied in a knot refers to the 2 main virtues of a monk: repentance and humility.