Ulrika kyrka

The parish of Ulrika was formed in 1736 after local farmers, weary of long and difficult journeys to their nearest churches for baptisms, services and funerals, petitioned for permission to build their own. According to parish tradition, a tragic accident involving a farmer returning home after a christening helped spur the campaign, which eventually reached Queen Ulrika Eleonora herself; she is said to have been moved by the plea and offered her support. The church was consecrated on 1 June 1737 by Bishop Eric Benzelius the Younger, and named in the queen's honour.

The building is a timber structure clad in wooden shingles, with a rectangular nave, a narrower, straight-ended chancel to the east, a sacristy behind it, and a porch to the west through which visitors enter. Round-arched windows and a shingled saddle roof give the exterior a plain, harmonious character typical of Swedish rural churches of the period. Inside, the nave has a barrel vault, while the lower chancel beyond the triumphal arch is covered by a flat wooden ceiling bearing painted decoration. A red-painted freestanding bell tower, built in 1752 by Gabriel Bragner, stands close to the church.

The altarpiece above the altar depicts Christ at table with the Pharisee Simon, an early eighteenth-century Swedish work said to have been donated by Baroness Emerentia von Düben. An older altar cabinet with carved figures, reportedly originating from a late medieval Lübeck workshop and once belonging to Mjölby church, is also part of the church's collection, alongside a painting of the Crucifixion attributed to seventeenth-century court painter Johan Johansson Werner. The pulpit, hanging on the epistle side of the nave, is said to have been made around 1590 for Västra Eneby church and later given to Ulrika when its original home acquired a replacement.

Above the west gallery, painted panels show Christ and the twelve apostles; the church was extended westward in 1797, during which the original flat painted ceiling of the nave was altered and much of its decoration lost, though fragments were rediscovered during a later restoration. Among the furnishings associated with royal patronage are a communion chalice and paten attributed to Stockholm silversmith Gustaf Stafhäll, said to be a gift from Ulrika Eleonora, along with other vessels and textiles similarly linked to her.

The church also retains a notable organ case with a history spanning several centuries, moved between churches before settling permanently at Ulrika in 1798; its pipework has been restored more than once, most recently in the early 2000s, and reflects the long and layered history of the building itself.