Landvetter kyrka

The church's oldest parts, the walls of the nave, are largely from the 14th century. The tower was erected in 1836–1845, after which the church was extended to the east. The most recent addition is the sacristy, which was built in 1957. The church is situated on the eastern shore of the lake Gröen, or Landvettersjön as it is commonly called in everyday speech. It is surrounded by a churchyard sloping westwards, down towards the water.

The chancel, with its cut-off corners, lies to the east, and a blunt tower with a narrower upper section stands to the west. The church is surrounded by a churchyard sloping westwards, down towards the water. Tall elms and lime trees provide shelter and greenery. In summary, today's church bears the character of a 19th-century church, though with some details of earlier date, including the pulpit, whose original parts are from 1685, and the font of soapstone from the latter part of the 13th century.

Landvetter church's oldest parts are considered to date from the 14th century. At that time the church had a rectangular nave with an entrance to the south and a narrower chancel to the east. The church interior received a wooden vault in 1687, painted by Johan Ross in 1732 and by Johan Liliedahl in 1788. The later paintings are partly preserved. Landvetter was rebuilt to its present appearance in 1845. The church building has been little changed since the 1845 rebuilding. The exterior is a good example of the Romanesque parish churches that, due to population growth, were rebuilt into hall churches in the 19th century, with the characteristic three-sided chancel and enlarged windows.

It is known that a bell tower was erected in 1715, and that a church porch was built outside the then southern entrance in 1740. This entrance was rediscovered during the 1931 renovation, but was plastered over again.

When the church was found to be too small in the early 19th century, a major renovation and extension was carried out in the 1840s. A tower to the west was begun in 1836, but could not be completed until the major rebuilding of the church in 1845, the year in which the extension to the east was also completed, when the church received a three-sided chancel.

When the church acquired a tower, the church porch to the south was demolished, as was the bell tower. The furnishings were also renewed at this time; it is likely that new pews and an altar with an altar rail were made, and the pulpit with its stairs was rebuilt. However, it is possible that some of these elements, such as the altar rail, were added later in the 19th century. During the 1931 renovation it was discovered that the porch in the ground floor of the tower had been connected to the church interior via three arched openings. This was probably the case during the period 1836–1845, before the nave had been extended.

The sacristy was added in 1957. In 1979 the room on the second floor of the tower was fitted out and insulated. Previously there was also an entrance to the east, which has at some point been closed up.

Inside, the church has furnishings from various periods (medieval font, altarpiece and altar rail, pulpit, gallery front, an older gallery front, and the ceiling paintings above the front part of the nave). The interior is characterised by the interplay between these details and Axel Forssén's own additions during the 1931 renovation (pews, completion of the ceiling paintings, painted chancel floor, etc.), which together with the overall colour scheme combine to form a harmonious whole.

The altarpiece
The church's altarpiece dates from 1680. The central section's Crucifixion was painted in 1732 by the German-born artist Johan Ross. Note the bones and skull beneath the cross. These are Adam's bones and skull, representing humanity's fate to one day die. Above the remains rises the cross, which becomes the tree of life. Through Jesus comes life, eternal life. This is also made clear by the Resurrection depicted in the upper section, also by the artist Johan Ross. On the predella is an inscription from the church's most recent renovation in 1986: Jesus said: I am the bread of life (John 6:35).

The font
The font is the church's oldest object, dating from the end of the 13th century. It is made of soapstone and was produced at the then Cistercian monastery of Ås kloster in northern Halland. The decoration on the font is well considered and originates from the Holy Land, where some French crusaders found the pattern and brought it home to their country. From France the Cistercians travelled up to the north, bringing with them ideas and innovations to our latitudes. The pattern on the bowl depicts the garden of paradise, and in the middle of the garden is the water of life, the baptismal water. We may imagine that the font was once painted and shone beautifully in the light of living flames. Our font belongs to a group of fonts now known as the "Valldaskolan" (previously the "Starrskärrskolan").

The organ
The current instrument was built by the organ firm Olof Hammarberg in 1986.

Great organ, Manual I:

Principal 8', Octava 4', Rörflöjt 8', Tvärflöjt 4', Gemshorn 2', Mixtur IV, Trumpet 8'

Swell organ, Manual II:

Fugara 8', Gedakt 8', Koppelflöjt 4', Principal 2', Nasat 1 1/3', Sesquialtera II, Tremolo

Pedal:

Subbas 16', Borduna 8', Flöjtbas 4', Fagott 16'

The instrument that was replaced was built in 1937 by Gebrüder Rieger. It was a pneumatic organ with 15 stops divided between two manuals and pedal.

Great organ:

Principal 8', Rörgedackt 8', Octava 4', Piccolo 2', Mixtur IV ch.

Swell organ:

Rörflöjt 8', Fugara 8', Gemshorn 4', Blockflöjt 2', Sesquialtera II ch. 2 2/3' + 1 3/5', Cymbel III ch., Krumhorn 8'

Pedal organ:

Subbas 16', Oktavbas 8', Nachthorn 4'

The churchyard
The part of the churchyard nearest the church is medieval. The older part of the present churchyard took its current form in the 1890s. The church, the churchyard and the nearby well-preserved rectory together form a cohesive church setting, despite the railway passing close by. The location with its view over the lake Gröen is an important part of the overall impression.