The Church of the Ascension was first mentioned in 1578. The wooden church was repeatedly rebuilt during its existence.
In 1786, a stone Church of the Ascension was first reported. It had a stone bell tower and a heated church dedicated to the Great Martyr Saint Catherine with a side chapel of the Great Martyr Saint Barbara.
The Church took on its current appearance in 1792–1799. It resembles famous buildings by architect Matvey Kazakov including the Church of SS. Cosmas and Damian in Maroseyka Street and the Church of the Ascension in Gorokhovoye Pole (Pea Field). Supposedly, this Church of the Ascension was also designed by him or his students. The Church was built with support from parishioners.
The three-storey bell tower with the clock was originally built separately from the Church; however, in 1808, a heated refectory with the side chapels dedicated to St. Catherine (consecrated in 1815) and St. Barbara (consecrated in 1821) combined them.
In 1907, a chapel was constructed near the Church.
A wall painting dated from 1913–1914 has survived till our days. An original three-tire gilded icon stand with columns and superimposed relief carving has been preserved with light losses. Some icons of the icon stand have also survived.
In the 1930s, the Church was shut down. A warehouse of fuels, lubricants and chemicals occupied the building. In the same time, a church openwork cast fence on a white-stone basement as well as openwork gate cast in accordance with the best samples of St. Petersburg fences were demolished.
In 1995, the Church was handed over to the church community. In 1996, church services were resumed. The building was completely reconstructed. A Sunday school is held in the Church. Children from Boarding School No. 27 are given guidance there.
The Church of the Ascension is the most significant religious monument of classicism in Kolomna. The main church's volume consists of a double-height dome rotunda with lowered altar and forechurch adjoined to it. Rotunda's quite smooth surface is brightened up with small two-column Tuscan galleries of side doors and "broken" lining gables of windows, interpreting shapes of Moscow baroque. The other building's parts are finished even more expressively and gaily. Rustications are widely used.
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