Gorki. Church of the Ascension of the Lord.

According to one version, the brick church was designed by architect A. Campioni. According to another version, the Russian-style temple project belonged to diocesan architect V. Shestakov. The customer of the construction of the church, dating from 1845-1850, was a local landowner Peter Sakovich.

The church was placed on a flat area "in a separate square, in the Kazimirovskaya part," on a peninsula between the rivers Prop and Parositsa. The church was consecrated on November 26, 1850 by Archbishop Anatoly (Martynovsky) of Mogilev and Mstislavsky. The rector of the church is currently Priest Andrey Vygovsky.

This cross-domed church is characterized by a traditional four-part composition, including rectangular volumes of the vestibule, refectory, prayer hall with side chapels and apses. The completion of the middle cross is highlighted by a large cylindrical light drum with a massive dome covering, which is one of the vertical dominants of the temple. Above the vestibule is a single-tiered tent belfry, representing the second vertical dominant of the church. Shoulder blades, arched niches and round sockets are used in the facade decoration with backsplashes. The tall and narrow arched window openings are decorated with plastic keeled platbands, similar to Russian kokoshniks. The entrance is decorated with a keeled portal.

The main element of the interior is the space of the middle cross, which, due to the height of the drum and the spherical dome, seems even more spacious. The corner pylons support the drum and dome, with sails serving as intermediate elements. The side chapels are illuminated by built-in window openings and have cylindrical arches on the timbers. The rectangular apse opens with a wide arched opening, and semicircular arches separate the Babynets from the main nave.

According to an undated description from the IIMC funds, this brick church without a choir, with an altar facing east, had a height of 34 yards, a length of 38 yards and a width of 34 yards. Below, under the dome, there was an iron grating with an indentation of one yard from the wall. The belfry had six bells.

The new two-tiered iconostasis was made of wood. A simple straight line shape was chosen for the top of the wooden carved gilded royal gates. A "picturesque image of St. Nicholas with gilded wooden faces" was placed in the church. The image of the Holy Spirit is attached to the upper tier of the iconostasis above the royal gates. The temple also served as a place for iconostases from "two previous ancient churches."

The modern three-tiered gilded iconostasis is decorated with carvings and made of wood in the traditions of the retrospective Russian style.

According to the description, the iconostasis, the altar, the walls and the sacristy contained icons of old writing, the origin of which could not be determined — Byzantine or Russian. The iconostasis also contained an icon of the Mother of God from two previous wooden churches, painted in 1671 and "corrected by parishioners." On the feast of the Resurrection Church in Gorki, a procession with prayers was held, during which the locally venerated image of the Mother of God in a low-grade silver case, kept in the church, was worn.

In addition, the altar Gospel of 1654 was kept in the church, made in a small format "with silver images and such burrs" and lined with velvet, as well as an Amphilogion dated to the time of Tsar Fyodor Alekseevich and Patriarch Joachim and printed "at the Bishop's Chernigov Lavra."