In the Northeast corner of the central city square, in depth of quarter behind houses, there is the ensemble of the Emperor Constantine Church, and the Sorrows of Holy Virgin Mary Church.
Like so many other stone Churches in Suzdal it stands on the site of an earlier wooden group of buildings by the Northeast gates of the stockade.
The main Church, with its south wall facing the square, was built in 1707 at the same time as the Church of the Entry into Jerusalem, but is incomparably more monumental and sumptuous than the latter. Its white walls are decorated with a wide cornice of small, deeply recessed, horseshoe-shaped kokoshniks and ornamental bands similar to those on the Resurrection Church bell-tower, which look like a strip of embroidery. The tops of the window surrounds are elaborately structured. In sharp contrast to the elegant simplicity of the walls, the roof is crowned with five extremely intricate domes on slender drums decorated with a band of small columns in high relief, on which the architect seems to have concentrated his flair for ornamentation. The splendid roof, the dramatic interplay between simplicity and elaborate detail, and the overall adornments of the Church are all very reminiscent of the former Trinity Cathedral in the Convent of the Deposition of the Robe. It is possible that the Church of the Emperor Constantine was also the work of Mamin, Gryaznov and Shmakov, or their apprentices. Its elaborate roof strikes a very festive note and emphasises the importance of the building in the ensemble. The circular classical vestibule with its two-columns portico, built on to the west wall at the beginning of the nineteenth century, blends in well with the older building of the Church itself and balances the sanctuary which was rebuilt at the end of the eighteenth century.
Northeast of the main Church stands the small heated Church of Holy Virgin Mary Sorrows (built in 1787), connected to a tent-shaped bell-tower. Its builder has made the bottom of octagon more simple, probably using example the bell-tower of the Church of Saint Nicholas. It is making the tower fit in with the architecture of the main Church. Its elaborate tent-shaped spire with tiny octagonal windows and needle-like dome blends in well with the domes of the main Church. The designer was particularly fond of the motif of glazed red and green baluster-shaped tiling which he used on the top of the spire as well as the octagon of the bell-tower and the cornice on the Church itself. This brightly coloured majolica ornament looked like strings of shining red and green beads encircling the Church and bell-tower.
The building was restored in 1952.