In Sunne, the ruins of a church and a tower (kastal) are preserved—two structures associated with the Norwegian King Sverre’s victory over the Jämtland forces in a battle on the ice of Lillsundet at Sunne in 1178. The tower, with its internal masonry staircase, suggests an early medieval origin, while the church’s rectangular, four-sided foundation belongs to the late Middle Ages. This church likely had a predecessor. In the eastern part of the church ruin, a raised chancel and altar foundation can be discerned beneath the turf.
In 1798, the parishioners of Sunne met to discuss building a new church, and in 1806, a decision was made to construct it south of Sunneviken, in an area known as Nylandet. Construction began in earnest in 1831, and the church was completed in 1835. It was consecrated by Bishop Frans Mikael Franzén on June 19. At that time, the old church and tower were abandoned.
The new church was built in neoclassical style with a nave, a western tower with a lantern, and a sacristy to the east. Its total length, including the tower and sacristy, is 50.5 meters, and the tower reaches 31 meters to the cross. Both church bells originally hung in the tower. They were cast in Stockholm—the larger in 1722 and the smaller in 1745. The large bell has a diameter of 116 cm and a height (excluding the crown) of 89 cm; the smaller bell measures 96 cm in diameter and 72 cm in height.
Initially, the church lacked painting, gilding, heating, and an organ. Eventually, the walls and ceiling were whitewashed. In 1903, the church was repainted, and ceiling decorations and biblical inscriptions in floral wreaths were added to the walls. The altarpiece, depicting the Resurrection of Christ, was painted by Karl Tirén and is a copy from Molde, Norway.
In 1931, the shingle roof was replaced with slate, and in 1943, inner windows were installed. A restoration was decided in 1953, and Bishop Gunnar Hultgren reconsecrated the church on September 5, 1954. In the late 1970s, a cloakroom, toilet, storage, cleaning area, and staircase to the gallery were added. The four rear pews were removed, and a new wall was erected.
The church interior is dominated by the sculpted altarpiece with Corinthian half-columns supporting an entablature and a segmental arch bearing the inscription “Christ is Risen,” crowned by the all-seeing eye of God within clouds and rays. The altarpiece, painted in 1903 by Karl Tirén, features the Resurrection of Christ. The altar cloth was made by Elna Lundgren in 1928.
The pulpit’s four-sided basket features typical neoclassical decoration. Its gilded carvings depict the tablets of the law: law, gospel, and judgment. From the pulpit canopy, a dove descends—a symbol of the Holy Spirit, signifying that God’s word is being proclaimed. The carvings were done by Göran Sundin of Sunne-Gärde, assisted by his son Jöns Sundin and apprentice C. L. Berlin.
Most chandeliers are of more recent date, except for the brass chandelier above the crossing in front of the old altar, dating from 1736. It commemorates the astronomer Pehr Wilhelm Wargentin, who was born and raised in Sunne. The inscription reads:
“To the glory of God and for the benefit and adornment of Sunne parish, this crown was donated by the will of the late Provost and Pastor of Sunne, Mag. Wilhelm W. Wargentin, by his beloved wife Madam Christina Arosel and their dear children. December 2, 1736.”
The gallery organ was built in 1839 by organ builder J. G. Ek from Torpshammar. Over time, it became difficult to play, and around 1999–2000, a decision was made to purchase a digital organ, which was installed in the chancel and inaugurated in spring 2001. The digital organ, made by Allen, has 32 stops. The old gallery organ remains in place.
In 1999, the relatively large sacristy was renovated and furnished with new chairs, an altar table, and a baptismal font. The carpet beneath the altar table was woven by Inga-Britt Norelius of Norderön, based on a design by Hedvig Önstad. She also wove the triptych above the bench, designed by Anita Persson of Östersund. The bench cover was woven by Ann-Britt Nilsson of Hölje, Lit, after a design by Märta Söderström..
Along the north wall of the nave stands a 17th-century altarpiece—one of the largest and most richly decorated from that era. It was crafted by Anders Olsson of Hållborgen, Revsund. Originally in the old church, it was deemed unsuitable for the new one but was restored and reinstalled during the 1954 renovation. Missing parts were replaced by brothers Herman and Gustaf Hermansson of Hara. The altarpiece features a rich array of figures and detailed paintings in the predella, depicting the Passion narrative in four stacked scenes.
The central panel of the predella shows the institution of the Last Supper; to the left are the four evangelists with their symbols, and to the right, a group portrait of reformers. The main panel depicts the Crucifixion with Mary and John, flanked by the two thieves. In niches stand John the Baptist (left) and John the Evangelist (right) with a scroll. The outer wings bear allegorical figures: Justice with sword and scales (right), and Hope with an anchor (left). The next tier shows the Risen Christ above a serpent—symbolizing the evil of the world, which Christ has conquered. In round-arched niches are Peter with book and key (left) and Paul with sword and book (right). The outermost figures are allegories: Faith (right) and Charity (left). The altarpiece is crowned by the Ascension, with Christ disappearing into the clouds, witnessed by eleven disciples and adoring angels.
Predellamålningens mittfält skildrar Nattvardens instiftande; till vänster de fyra evangelisterna med sina symboler, och, till höger ett grupporträtt av reformatorer. I huvudetagets mittfält skildras Kristi död på Golgata med Maria och Johannes, och, placerade i själva ramen, de båda korsfästa rövarna. I nischer står, till vänster Johannes Döparen, och, till höger Johannes evangelisten med en skriftrulle. Ytterst bär vingarna allegoriska figurer: till höger Rättvisan med svärd och vågskålar, till vänster Hoppet med ankare. Nästa etage visar, i mittfältet, den uppståndene Kristus framför en ruskig orm, symboliserande världens ondska som Kristus genom sin uppståndelse besegrat. I rundbågiga nischer står, till vänster aposteln Petrus med bok och nyckel, och, till höger Paulus med svärd och bok. Ytterst står allegoriska kvinnofigurer: till höger Tron och till vänster Kärleken. Altaruppsatsen kröns av Himmelsfärden, där Kristusfiguren helt försvinner bland skyarna, bevittnad av elva lärjungar och tillbedjande änglar.
Also preserved from the old church are saint figures, portraits of the evangelists, the offering box inside the church door, and the pyramids and altar rail at the old altarpiece.
The baptismal font from 1690 is of the Jämtland type, with a vine-wrapped shaft and angel heads around the bowl.
At the rear walls of the church are two tapestries designed and woven by Anita Persson of Östersund in 1991.
The iron church chest dates from 1775.