[8] According to the researcher V. A. Chanturia, this cathedral is a rather peculiar type of religious architecture, because even in Europe temples with four towers of the Baroque period were very rare.

[Note 5] Later, when it was rebuilt into a church, the ashes, wrapped in a red cloak, were removed and thrown away, picked up two days later by a local resident and reburied.

[17][18] Subsequently, the Carmelites began to pay the Korsaks, both in money and grain, and took over the responsibility of maintaining the priests and the clergy house.

[19] Regardless of the lack of historical evidence, researchers say that there were several rebuildings and additions to the church, as indicated by some parts of the building bearing features of architectural solutions of different periods.

[17][18] In 1735 the church was rebuilt according to the plan of the architect J. K. Glaubitz:[20][21][11][12][22][Note 6] in particular, the main façade of the building was changed (the towers were altered and ornamental order decorations were added).

[21][23][1][4][6] The monastery itself also housed an elementary school and an aristocratic prison for 12 poor students, a library with 3,000 books, a collection of paintings and engravings,[24][22] a music chapel, a hospital, a pharmacy, various household and storage buildings,[21][4] as well as a physics room[25][19][26] with 130 different instruments,[27] an extensive garden, and large "planters" with various fish.

[34] The crypts in the dungeons of the cathedral and the monastery, where the Carmelites had stored the rebels' arsenal during the uprising, were turned into cells for prisoners, and the main underground corridor itself was divided by a massive grate.

Completed in the year 1735 July 3 and consecrated Jerzy Antsuta, Vilna suffragan... today the church and monastery in a state of disrepair, in need of major repairs...its length is 72, width 32 arşın, has 4 towers — 2 of the façades brick, in one of them non-working clock and 3 bells weighing 196 poods, behind 2 wooden towers ...windows 32, altars 7, an organ for 12 voices ...the church is tiled.

Inside, instead of the Roman altar was installed Orthodox iconostasis with its accessories; from the interior decoration of the precious chandelier, huge candlesticks at the local icons and majestic seven candlesticks on the holy table, which were acquired by the efforts of the local parish and which "its massiveness, size, high quality material and artistic finishing serve as a luxurious decoration of the temple, making up for the unsuccessfully changed original its dignity".

[39] Among other things, the organ, side altars and confessionals were removed (royal doors were installed in their place)[36][18] and the church property was looted.

[3][40][41][36] In the celebrations connected with this consecration took part 16 priests, 2 deacons and more than 5 thousand pilgrims, and a procession with the antimins and relics took place from the Church of the Holy Trinity in Deepika.

[42] The monastery building was given to the city police,[3][19] and the library of three thousand books was given to the Vilna Antiquities Museum (the archives ended up in St. Petersburg),[43] along with a collection of paintings and geographical maps, a physics cabinet; the rest was looted.

In total to the parish of the temple belonged 2 tributary and 2 cemetery churches, poor on utensils and are in a dilapidated state, 683 yards with the number of parishioners in 2752 men and 2665 women.

[51] In 1970, Archbishop Antonij (Melnikov) of Minsk and Belarusia, accompanied by Hegumen Valentine, associate professor of the Moscow Theological Academy, and B.

According to the local authorities, the attendance at the service was massive: the number of believers in the church ranged from 5 thousand (Burakov's data) to 700 people (Dean Ivanov); the choir sang.

[6][15][Note 16] The church was originally a long rectangle in plan (this strictly rectangular form precisely included all volumetric and spatial parts of the church),[6] has a simplified planning solution, including a three-nave basilica, a rectangular apse (presbytery) and a series of cells behind it, connected by a sacristy (one of the monastery buildings, attached directly to the rear flat wall of the altar part and dated to the same time of construction).

[20][21][2] It is hard to judge about the original design of the main façade, but according to the researcher Sliunkova I. N. it probably followed the Roman architectural models, more precisely the three-axis composition, in which the lower part of the basilica is decorated with a system of pilasters, and the upper part with a triangular pediment and volutes on the sides (such volutes were later presented in the two upper tiers of the iconostasis).

[58] The richly decorated entrance portal with carved doors of the XVII century with gilding highlights the center of the lower façade tier, while the niches — exedras finished with conchas, its sides.

[1][2] Even in 1735, this façade was richly decorated with order plastics - in particular, there were added bundles of pilasters, bracings, wavy belt courses and so on.

[8][Note 19] The rear façade of the temple was designed in more restrained forms: thus it is characterized by a triangular pediment with a circular niche in the center, decorated with cross-shaped lesenes, and two symmetrical quadrangular towers.

Thus, the walls and pillars of the temple are characterized by the scattering of pilasters and wide cornice belts, whose decoration is a rich floral ornament with motifs of stylized acanthus leaves in addition to high relief images of angels' heads.

The lower part of the icon was covered with silver paint, on which a black inscription was written in two lines: "S Maria Mater dei \\ Anno 1738".

[20] According to the 1995 data, the image, whose silver and gilded frame is considered a work of Rococo art, was placed in the chapel of the same name in the church, located in the cemetery.

[2] There is also an icon "Axion Estin" in the temple, which is an exact copy of the miraculous image from the Athos Karyes Church and has the dimensions of 1.6×1.15 meters.

According to the gift inscription on the back of the icon, it is "a gift from some of the poorest Russian St. George monks-patriots to the venerable father, rector of the Orthodox Church in honor of the Nativity of the Virgin Cathedral in Hlybokaye, Lithuanian diocese, Vilna Governorate, Disna uezd, priest Euthymius Divolovsky with the parish and parish for this church inalienable property, as a blessing from the Holy Mount Athos to this church, parishioners, to the village and the whole district of the Orthodox inhabitants — permanent and temporary, present and future, clerical and military, official and ordinary, to help them all from all troubles, evils and attacks from all and on all, visible and invisible, manifest and secret, external and internal enemies of Russia and the Tsar, Orthodoxy and Christianity".

A special procession was organized with the participation of clergy and pilgrims (about 13 thousand), which for three days travelled 35 miles with the icon, stopping for prayers in the villages of Verkhnie and Lasitsa and approaching Hlybokaye in the evening of June 12.

[63][64] In recent years, the old tradition of a procession with the icon from the Cathedral to the newly opened Berezvech Convent has been renewed, with the faithful covering the road with flowers and the clergy carrying the image in their arms.