Historical outline
The village is now called "Krynica", although in the 16th century it was also recorded as a town (sic!) with the name "Sukhodol". It lies on the road from Buczacz to Stanislavov, about 6 km south-west of Monasterzysk. The first mentions of Korostatin date back to the 15th century: Awdańców from Buczacz, Buczacki (i.e. Tworowski of Pilawa coat of arms), Mohył, Wiśniowieccy, Łosi, Przerembski, Korecki, Głogowski, Stefan Hasso Agospowicz, Julian Żurakowski, Tytus Szawłowski. From the end of the 19th century until World War II, the village belonged to the Słoneckis.

For centuries Korostatyatin was subordinate to the parish in Monasterzyska, but in 1893 construction of a branch church began, and it was consecrated in 1901. However, the exact year of its completion is not known. In 1902 an exposition was established here, and twenty-three years later Korostatin lived to see its own independent parish.

In 1944 a branch of the Ukrainian Insurgent Army, with the support of local Ukrainians, carried out a mass murder of Poles. Some of the Polish population, together with the priest, took refuge in Monasterzyska. Most of the residential buildings and part of the vicarage were burnt down.

The fate of the furnishings is not known. It is known that the last parish priest, Mieczysław Krzemiński, left for the west in 1945. The abandoned building in Korostatin was initially used as a Uniate Orthodox church, then as a grocery store. In 1989-1990, it was taken over by the Orthodox, and since the early 1990s it has been used as the Uniate Church of the Nativity of the Virgin Mary. Since the early 1990s, it has served as the Church of the Nativity of the Virgin Mary.

Architecture
The building is located in the centre of the village, on a hill. The presbytery is oriented to the west. The building was erected from brick and stone and plastered. It consists of a two-bay nave and a single-bay, narrower and lower chancel, closed with a semicircle on the inside and pentagonal on the outside, with square annexes on the sides, which house the sacristy and the treasury. The nave, on the other hand, is preceded by an extended front annex, which consists of a rectangular porch and a floor housing the music choir. The sides are flanked by towers that are square in plan and contain a staircase and storehouse in the ground floor.

The façade attracts attention with its sophisticated ornamentation. It is three-bay, single-storey, but it is surmounted by the aforementioned two flanking, three-storey towers. Above the beam is the attic, which forms the base of the finial of the central part and the second storey of the towers. In addition, it is a common element of all parts of the façade. The towers are identical on each side. In the fields of the lower storey are placed aediculae consisting of composite half-columns and numerous ornaments. In the middle of the aediculae, rectangular niches closed with semicircles are placed in front.

In his study of the building, Andrzej Betlej writes:

. "The second storey of the towers on the attic, with the corners framed by lisens, supporting the beam with a doubled frieze, in the broken parts above the supports decorated with canellation; on the axis of the beam keys in the form of cusps. The fields between the lisens have large niches framed by Tuscan pilasters supporting semicircular arcades. The recesses on the front and sides are pierced with windows, the other sides are blind. The third, low tier of the towers is closed with a prominent profiled cornice, decorated on all sides with rectangular panels in which blind oculus' [i.e. round windows - editor's note].

. The side elevations of the nave are articulated by an interesting arrangement of lower Tuscan semi-pillars supporting semicircular arcades. The arcades contain stepped windows. The dominant feature in the articulation of the nave is the columns dividing its bays flanked by semi-pillars. The transom above them is strongly broken and its cornice forms small triangular abutments.

In the chancel, the outer facades are articulated by Tuscan pilasters on plinths. The whole is enclosed by a multiply moulded cornice. The windows of the presbytery are framed by profiled arcades supported by Tuscan semi-pillasters and placed in frames resembling aedicules. The altar area is illuminated by a circular window located on the axis of the closure.

There is a gable roof over the nave. Above the chancel it is identical, differing only in the end. The other parts have low gable roofs with ridges perpendicular to the church axis. The roofs of the towers are clad with sheet metal. The remaining areas are tiled.

In the interior, most of the façades are made of stone. They are articulated with Tuscan pilasters supporting a beam with triglyph frieze. The exceptions to this are the ridge of the nave bays, where Tuscan columns are set.

It is worth noting the numerous alabaster elements with which the careful detailing has been enriched and refined. An example is the interesting finish between the nave and the music choir.

A sail vault was used over the nave and a barrel vault over the chancel with conch and lunettes over the close. The music choir is located in the room above the porch extended by a shallow empora, which is supported on wall-mounted Tuscan pillars.

Highlights associated with the furnishings and surrounds of the building include:

• The ornate and elaborate main altar with a masonry mensa and retable made of grey alabaster. The construction was based, among other things, on columns and the finish on very careful detailing. The finial in the form of a small aedicula;
• Side altars located on the sides of the rainbow arch, with masonry mensa, above which alabaster Tuscan columns, belonging to the system of architectural divisions of the nave;
• An alabaster altar mensa in the form of a panel supported by two columns;
• An interesting rectory, which does not match the ornamentation of the main building, but was designed with great care and attention to detail;
• A bell tower in the form of a section of masonry, topped by a triangular pediment.

The building has been preserved in good condition. However, the original furnishings are missing from the site. As Andrzej Betlej writes in his study of the building, the church in Korostatin is an outstanding example of Historicist architecture from the late 19th century. Why? According to the art historian, attention should be drawn first and foremost to the quality of the materials used (including numerous alabaster elements in the interior), as well as to the fine system of architectural divisions and the high class of detailing. However, the author makes it clear that it is not easy to define the stylistic costume of the building. Some vectors point to a subtle Neo-Baroque, while others to a Mannerist tradition. Although the designer of the project was not necessarily familiar with the term 'mannerism'. Either way, the building is very unusual for the region, dominated mainly by Neo-Gothic buildings. Betlej suggests that the concept may have originated outside Galicia, for example in Vienna.