Although Angarn Church probably dates from the 1280s, it lies in a cultural landscape with a much older history. Petroglyphs from the Bronze Age, as well as several significantly later runestones testify to the old traditions of the place. The church was built on a hill next to an inlet of the Baltic Sea (which has subsequently disappeared as a consequence of post-glacial rebound) and thus was strategically located, easy to reach by boat.
The church lies in an enclosed cemetery. On the grounds there are several runestones, and one is also immured in the church. Of the runestones on the church grounds, one was possibly made by the only known female runemaster, Frögärd i Ösby.
The exterior of the church is plain, whitewashed fieldstone, with a few details in brick. The form is a hall church, and it may be one of the oldest hall churches in Uppland. The church door is probably the original, medieval door, although the lock mechanism dates from the 18th century.
The interior of the church is dominated by the barrel vaulted ceiling, a construction carried out during a major renovation of the church in 1795-96. Much of the rest of the interior of the church is also characterised by the architectural ideals of the late 18th century.
Among the furnishings are the 13th century baptismal font made on Gotland and the Romanesque triumphal cross dating from the 12th century. The pulpit and altar are both from the late 18th century; the neoclassical pulpit was carved by the royal ornament sculptor Petter Ljung (1743-1819) and the pews are imitations of 18th century pews made in the 1940s. Among the rarest objects belonging to the church is a chasuble, dating from the 16th century. The organ was set up in the church in 1849, but is probably built around the year 1800.
The church has an external wooden bell tower constructed in 1661 containing two bells; the oldest probably from the early 14th century and the other dating from mid-18th century.References:
The Castle of Gruyères is one of the most famous in Switzerland. It was built between 1270 and 1282, following the typical square plan of the fortifications in Savoy. It was the property of the Counts of Gruyères until the bankruptcy of the Count Michel in 1554. His creditors the cantons of Fribourg and Bern shared his earldom. From 1555 to 1798 the castle became residence to the bailiffs and then to the prefects sent by Fribourg.
In 1849 the castle was sold to the Bovy and Balland families, who used the castle as their summer residency and restored it. The castle was then bought back by the canton of Fribourg in 1938, made into a museum and opened to the public. Since 1993, a foundation ensures the conservation as well as the highlighting of the building and the art collection.
The castle is the home of three capes of the Order of the Golden Fleece. They were part of the war booty captured by the Swiss Confederates (which included troops from Gruyères) at the Battle of Morat against Charles the Bold, Duke of Burgundy in 1476. As Charles the Bold was celebrating the anniversary of his father's death, one of the capes is a black velvet sacerdotal vestment with Philip the Good's emblem sewn into it.
A collection of landscapes by 19th century artists Jean-Baptiste-Camille Corot, Barthélemy Menn and others are on display in the castle.