Mention of the construction of an Orthodox Cathedral dates back to 1873. Even then, it was a proposal for the construction of the temple near Narva for the Krenholm factory workers, because of the 10 thousand workers in the factory about half were Orthodox. The construction of the temple was delayed "pending the raising of funds".

In September 1889 the new Governor of Estland kN. Sergey Shakhovskoy sent a letter to the Manager of Krenholm manufactory U. A. Andre, in which he in a soft, but at the same time and persistent form, offered to build a temple for the Orthodox workers of the factory. In the end, August 5, 1890, was made the Foundation of the Church which was timed to the visit to Narva by Emperor Alexander III, who held an official meeting with the Emperor of Germany Wilhelm II. On this day, Alexander III, after the Liturgy in the main Church of Narva – the Saviour-Transfiguration Cathedral, personally laid the first stone of the future Cathedral, while hitting him three times with a hammer. Place the tab highlighted, after which the Emperor acquainted with the plan of building the temple. In November 1786 he built in the Cathedral after the consecration of the high altar and the entire Church held its first Liturgy, which was conducted by the Archbishop of Riga and Mitau Arseniy

Project resurrection Church prepared Krenholm architect Pavel Alish. This Church was radically different from the already constructed sacred buildings of Narva. Apparently, the Cathedral has been built beside the railway, because in those days the view from the window of the car, from an aesthetic point of view, was just as important as the view from the river or roads. In addition, during the construction of the emphasis that the Church was viewed as an integral structure from its Foundation to the cross, in contrast to the medieval Church of Narva, in which the religious idea was emphasized only its upper part or spire.

The resurrection Cathedral was built in the Byzantine style, the purpose of which was to underline the spiritual continuity between Constantinople and Moscow. This style came in Russian architecture in the 30-ies of the 19th century to replace classicism. Heavy squat volume of the resurrection Cathedral was crowned the same monumental domes. The building itself is built of light and dark bricks, layers which alternate with each other. If you look at the plan of the Cathedral, you can trace the outline of the cross. Feature of the temple are 4 portal, which houses the mosaic images: St. Alexander Nevsky, unmercenaries Cosmas and Damian, the Holy virgin Joy of All who sorrow and Nicholas. The original idea of these portals played the role of additional entrances to the temple, but later, for security purposes, they were laid.

At the belfry three large and 3 small bells. On the main bell, which weighs just over 2000 kg, depicts the Savior on the average – the virgin, the small – Nicholas the Wonderworker. The inscriptions on them indicate that they cast Gatchina plant for Krenholm factory. Under the temple there is a basement in which to store cinder, oil, etc. Originally, the basement was not intended for the lower Church. However, due to the fact that the upper Church was cold, basement decided to remake the winter Church. Now in the lower Church of St. Seraphim of Sarov, are also the office, wafer room, carpentry and icon-painting workshops. The upper and lower churches are connected by a spiral staircase, which is located in the chancel.

The height of the temple is 40, 5 meters, the length of the temple is almost 35 meters, width – 28, 4 m. the Height of the belfry is almost 30 meters.

Internal Foundation of the resurrection Cathedral, like many years ago, forms a three-tiered iconostasis, which is framed by an arch. In order to emphasize the solidity and volume of the iconostasis, the master used the so-called hard thread with clear and smooth edges. Oak was used as a material for the base, slip the thread was made of basswood. Feature of the iconostasis was that used different gold plated matte and shiny. Great value of the iconostasis is that for almost 100 years, it has not been updated, so today he is an artistic specimen of the principles of gilding and carving of the late nineteenth century. One of the best preserved paintings of the image in the Central dome: "the Lord Pantocrator" is the most monumental image of interior decoration.

The resurrection Cathedral is the only surviving temple in the whole district. It is not surprising that the Church utensils were gathered here. Interesting is the great story of the Crucifixion, which was previously located in the Central part of the Spaso-Preobrazhensky Cathedral. After the bombing during the second world war it miraculously survived, while from the temple now in ruins. Shortly after the incident, the Crucifix was moved to the Cathedral of the resurrection.