Vättlösa kyrka

The church was built around an earlier timber church, using a simple design with a straight-ended chancel that was easy to construct and can be found elsewhere in the region. In the fifteenth century the nave ceiling was given its present cross-vaults, and a burial chapel was added south of the chancel in 1656, later converted into a sacristy. In 1756 the nave was lengthened westward and the chancel raised, with the windows probably enlarged at the same time.

A freestanding wooden bell tower east of the church dates from 1798. Of the two bells, the larger dates from 1726, while the smaller is an earlier medieval type without inscriptions, similar to but slightly broader than a bell at nearby Saleby church.

Most of the interior furnishings date from the twentieth century. An octagonal wooden font, probably from the late nineteenth century, replaced an earlier twelfth-century sandstone font, which was sold to the Swedish History Museum around that time. The current altarpiece, an oil painting of the Ascension of Christ, is thought to date from around 1700 or the eighteenth century; it was removed and replaced in 1910 by a simpler painting of the Road to Emmaus by Gustaf Brattström of Skara, before being reinstated during restoration work in 1982. Brattström's Emmaus painting now hangs in the gallery. The altarpiece's finely carved acanthus-leaf frame is believed to have been made for an earlier altarpiece.

The original pulpit was discarded in 1910 and replaced with one of more traditional angular form, designed by Charles Lindholm, its four painted panels depicting Christ and the Evangelists by C. W. Pettersson. Older wall paintings found in the vaults were unfortunately plastered over in 1910 without being recorded; the decorative stencil patterns seen today, in a style inspired by Uppland Gothic art, were created by Pettersson. In the chancel vault a painted pelican feeding its young with its own blood survives as a traditional symbol of Christ's sacrifice.

Two funerary hatchments hang in the gallery, commemorating Erik Stake, baron of Vik, and the cornet Hans Stake of Olstorp, both said to have died in 1672. Each hatchment bears sixteen small quartering shields carved from the same piece of wood as the main shield, representing the ancestry of the deceased in the fourth generation; because they were carved in one piece, none of the small shields have been lost or displaced over the centuries.