Hölö kyrka

The earliest church on this site dates from the 1100s, or possibly earlier, and was considerably smaller than the present building. Its medieval tower was rebuilt wider in the 15th century, gaining a spire, and traces of the earlier tower walls survive within. The tower's spire was removed in 1688 when it had fallen into disrepair, and a permanent domed cap, designed by Olof Liding, replaced a temporary covering in 1759; this is broadly the tower silhouette visitors see today.

A radical rebuilding took place in 1792–93, when the medieval sacristy, porch and most of the nave were demolished. Only the nave's west wall, supporting the tower, and a burial vault survived. The present neoclassical nave and apse-shaped chancel were built to designs attributed to Anders Sundström, with work overseen by fortification-builder Isak Rosenius, giving the church its broad rectangular hall with a plastered barrel vault. Further alterations around 1900, under architect Bror Almqvist, added the moulded cornices in the vault and the chancel's pilasters, echoing decoration previously only painted onto the walls. The interior has been repeatedly restored since, most recently in 1993.

Among the church's furnishings is the large altar painting of the Last Supper by Per Hörberg, donated by Duke Fredrik Adolf, brother of Gustav III, though it did not reach the church until 1807, after his death. The pulpit, raised in 1672, was a gift from Ebba Brahe; sources differ on its maker, one crediting the Västmanland craftsman Erich Nilsson. A striking Renaissance memorial, the tomb of Karl Sture of Tullgarn (d. 1598) and his wife Karin Jonsdotter, depicts the couple life-size as if lying in bed—one of very few surviving monumental Renaissance tombs in Sweden, comparable to one in nearby Mörkö church. It was removed and buried beneath the floor during the 1790s rebuilding, only to be rediscovered and re-erected in 1902.

The tower room houses a small collection of worn late-medieval wooden sculptures, including figures of Saint Lawrence, Saint Mary Magdalene, Saint Birgitta and the Virgin Mary, alongside fragments of an older altarpiece donated in 1686. Portraits inside the church include one of Gustav II Adolf, attributed to court painter Jakob Elbfas, and another of a long-serving local priest, Paulus Scharff, who is said—according to local tradition rather than contemporary record—to have helped frighten off Russian raiders in 1719 by rallying villagers with drum and noise.

The font, of local Edeby marble, dates from 1946, while the organ, built in 1985 by Grönlunds Orgelbyggeri behind an 1860 façade, continues a long line of instruments recorded at the church since the 18th century. Textiles preserved here include 18th-century vestments and altar cloths, one embroidered by King Gustav V himself in 1945.