The main part of the present architectural complex concerns 1880^ths when archbishop Nikita reconstructed the residence anew. These are bishop’s and seminary buildings. They are located in parallel to each other and form the basic rectangular of the monastery from the east and the west.

The majority of buildings lost their initial shape as a result of following alterations.

         The most ancient is the construction in northern part of the monastery. It is a small two-storied house in an empire style made of brick and plastered (Hegumene’s House nowadays).

          In the XVII century the church in honour of the Protection Veil of the Holy Mother of God was placed in this building. Warm, one-headed, non-apsidal church with a refectory occupied the top floor; the crypt served economic purposes. The church had a board vestibule and a gallery that connected it with bishop’s rooms. The head and the roof of the church were covered with tile, floors were covered by brick. Rooms of the church are easily read on plans of the existing building. Stoves and old doorways are visible on the walls, residues of cut down trowels – on the facades. In the beginning of the XIX century the Protection Veil of the Holy Mother of God church was transferred to the Bishop’s House and now adjoins to it from the end face.

The Holy Trinity church is the main church of the convent. It was built in 1680 in a Moscow baroque style and was repeatedly altered subsequently. This church is non-pillar, one-headed, put on a high vaulted crypt. The church is interesting by original structure where central cube with 2 windows and a close vault is surrounded from three sides by the gallery included in a volume of its lower storey. The gallery is connected with the church by means of big arch apertures – and all this complicates internal space.

          A passage connected the Holy Trinity church with the Bishop’s House. It is known, that some icons for the church were painted by masters of the Armory Chamber, Tikhon Philantyev being one of them.

The Bishop’s House was built at the end of 1682 on archbishop Nikity’s initiative at the place of a former Bishop’s Palace. Renewed after a fire in 1777, it received forms of an early classicism. In 1823 small warm St. Sergius’s (Intercession) church was attached to its northern end face. That brought in new features of a pseudo-Gothic style to the monument architecture. Despite of alterations, the brick two-storied living building kept primary internal structure, the most part of vaulted floors and trowel-partitioning of facades, adequate to position of internal walls. The facade facing the conventual yard has obvious traces of reconstruction of the late XVIII century. Its windows are increased and placed in flat ambries with superimposed decorative "board", the interfloor belt is cut down, the wall is finished with a classical eaves with trusses.

Some specialists consider the Cross-vaulting (One-pillar) Chamber of the Bishop’s House to be a building of the XVI century.

On October 14, 1775 Empress Catherine II visited Kolomna. Passing along Kolomna she noticed, that the town was disregarded and built chaotically up. The instruction was given to the local authorities to put the town into an order. Empress sent from Moscow a group of architects headed by the well-known architect Matthew Fedorovich Kazakov in January, 1778. He restored the Bishop’s House damaged after a fire of 1778, and also built a stone fencing with a gate of an arrow-shaped form, angular towers topped with high-spike domes, and reconstructed the Protecting Veil of the Holy Mother of God (Intercession) church which became a typical sample of the architect’s (M.F.Kazakov) synthesis of classical and pseudo-Gothic architectural forms.

Attached to the church a one-pillar refectory led to the next bishop’s reception chamber, that was later included into the structure of the brethren building.

         The tree-storied belltower with the Holy gate in the basis is one of the best examples of an empire style in Kolomna. It was made of brick with partial application of white stone in 1825. Massive, partly rusticated cube of the first storey with an archway carries a harmonious tower with two bell-storeys and a dome drum. Column porticoes and a motive of false balustrade make it look elegant and trim.