Skee kyrka

The church was constructed as a plain nave with a narrower, equally tall chancel to the east, ending in a semicircular apse. Several features from this earliest period survive, including the round-arched window in the north side of the chancel and the south and north doorways. The stone floor, and probably the altar table, are also thought to date from the medieval period. A detached bell tower of stone standing south of the road was added in 1673.

Between 1794 and 1795 the church underwent major rebuilding: the nave was extended westward, a stone porch was added, the chancel walls were raised, and vaulted ceilings were introduced over both chancel and nave. A further restoration in 1923–1924, led by Axel Forssén, deliberately removed some of these 18th and 19th-century additions in order to reveal medieval elements once again, including the medieval chancel doorways and the dressed stone of the facade. This careful uncovering of earlier fabric is regarded as characteristic of the restoration approach common in western Sweden at the time.

The ceilings hold a layered history of painted decoration. Christian von Schönfeldt painted the nave, chancel and sacristy ceilings in 1730, but only the sacristy paintings survive; the nave's wooden vaulting was replaced later in the 19th century. During the 1923 restoration, new ceiling paintings depicting Christ's ascension and the apostles were added to the nave, while Schönfeldt's surviving sacristy work, depicting themes of confession and forgiveness, was conserved.

Among the church's furnishings is a carved altar cabinet from the 1490s, showing scenes from the life of Christ, set within a Baroque frame added in 1686. A black soapstone Madonna figure from the 13th century stands on the chancel altar, and a stone figure of Mary, carved around 1275, has stood on a separate Marian altar since 1924, having previously been positioned above the church's west doorway. The Baroque pulpit dates from 1671, a gift from Sven Ranck, then owner of the nearby Blomsholm estate.

The medieval font, carved from soapstone around 1200, is particularly notable: its relief decoration of lions, dragons or griffins and human faces is considered unusual, and while lion motifs of this kind were common in Denmark, this font's material and style suggest it was more likely made in Østfold, Norway. The original was sold to the Swedish History Museum in the 19th century and replaced in the church by a cast copy.