Fröskogs kyrka

Welcome to take a tour of Fröskog Church (https://www.queenmedia.se/kyrkor/amal/Froskogs/).

In Fröskog there have probably been two earlier wooden churches. The current church was completed in 1730. The church is relatively small and has a rectangular plan with a three-sided chancel end. There is no tower, but just south of the church stands a bell tower, possibly contemporary with the church.

The bell tower is clad with falu-red weatherboarding and has a roof covering of slate. The church is built of horizontal logs and clad with red-painted oak shingles. The nave is rectangular with a raised, three-sided chancel to the east and a gallery to the west.

The interior is characterised by the well-preserved 18th-century furnishings in provincial Baroque style. The walls consist of hewn log timbers painted white with a grey speckled pattern. Around the windows there are decorative drapery paintings. Prominent is a flat wooden ceiling with paintings from 1739 by the master painter Hans Georg Schäffner. He was called "God's painter in Dal and western Värmland" and belongs to the West Swedish school of painting. The ceiling paintings in Fröskog are divided into different fields, framed by borders with acanthus ornamentation. The fields contain motifs from the Old and New Testaments.

The altarpiece and a richly designed pulpit are contemporary with the ceiling paintings and were made by the sculptor Nils Falk and painted by Schäffner. Two angels support hymn number boards. The angels were made by the sculptor Isac Schullström in the 1770s.

The church's preserved 18th-century furnishings also include the pews. Unique chancel pews are found both to the south and to the north. During a renovation in 1923, the altar rail and the wooden baptismal font were added.

Relatively few changes have taken place in the church since it was built. During the 19th century, the walls of the nave and the sacristy were covered with white paper/board (papp). After a lightning strike in 1923, the church underwent an extensive restoration intended to emphasise the church's 18th-century character. In a manner typical of many 20th-century church renovations, large parts of the 19th-century changes were removed.