The church's location is no accident: it illustrates a well-known pattern in Sweden whereby Christian churches were deliberately built on or near earlier pagan cult sites, appropriating their significance. The oldest parts of the building date from the 1200s, making Hol one of the older church sites in the region, though it has been altered considerably since.
Architecturally, the church remains a modest medieval nave typical of the surrounding parish churches. In 1776 it gained a three-sided chancel and a small timber tower on the west gable, giving it the outline visitors see today. A restoration in 1942 deliberately reinforced the building's rustic Baroque atmosphere, including the construction of new box pews modelled on older examples.
A turbulent episode in the church's history came in 1611, when Danish troops plundered the building and reportedly used it as a stable for a time; bullet holes said to date from this period remain visible in the iron-bound medieval door.
Among the church's furnishings, the altarpiece of 1703, depicting Golgotha, is the work of the Borås master Gustaf Kihlman, who also made the pulpit a few years later. The painted wooden ceiling, decorated in 1789 by Johan Lundgren of Alingsås with cherubs floating among clouds, is said to be among the last such ceiling paintings completed in the diocese. Two medieval church bells survive, one of Romanesque type with a simple inscribed cross motif, the other bearing a Latin numeral inscription thought to indicate a casting date of 1520.
Outside, a lychgate leads into the churchyard, and a runestone commemorating a man named Gudmund stands near the church; sources differ slightly as to whether it is sited by the porch or, as one account states, has been kept in the church's vestibule since 1905. Two medieval carved oak Madonna sculptures associated with the church are notable in their own right, though one is now held at the Swedish History Museum rather than in the church itself.