Main altar - polychrome and gilded wood, Mannerist style made in the 2nd quarter of the 18th century. Maritime altar supplemented around 1721 with Baroque elements.

Wooden altar, architectural, portal-column, with gates. In the lower tier three-axis, in the lower tier one, on a high pedestal. Above the gates a pair of votive obelisks set on a base, surmounted by a decorative quadrangle, the lower tier of the retable consisting of a pair of composite columns entwined with vines, set on a forward projecting pedestal covered with ornaments. In the central axis closed with a semicircular arch with angels in the axillary fields, with a richly ornamented arabesque decorated frame, a smaller image of the Blessed Virgin Mary with a child in a rococo frame. On the slider of the first the image of the Blessed Virgin Mary Immaculately Conceived, on the second the Annunciation. On the sides of the columns rectangular, narrow, closed at the top with a semicircular arch, monochromatic in tone images of St. John the Baptist and St. Nicholas.  Below them ellipsoidal rolled cartouches, above them round cartouches. On the side at the level of the upper cartouches, kneeling putti are seated on long, volute-shaped consoles. The storey is separated by a wide frieze over the side axes in two parts, with a festoon in the lower one and an arabesque in the upper one. Above the columns an impost with angel heads, above an interrupted triangular pediment with figures of two bishops seated on it. The upper storey flanked by two smaller obelisks with cartouches in the lower part with floral finials, single-axis.  The image of St. Anne Selbdritt is framed by two coats of arms bearing a curved above, a molded cornice topped by an interrupted semicircular pediment, with a gloria foot in the middle with a dove in the field. The altar is polychromed in white, the ornaments are gilded, the background under the votive at the image of the Blessed Virgin Mary and in obelisks of red velvet. Beneath the altar is the tomb of the alleged St. Felix.

The altar is located in the chancel.

Image of Our Lady of the Scapular oils on canvas in Renaissance style in the 2nd quarter of the 17th century.

The painting depicts the Mother of God with the child in the Scapular type, covered with silver shirts, from under which only the faces and hands are visible. The painting is in a Rococo frame with stylized shell ornament, with a second inner frame decorated with heart-shaped votives. Faces and hands in light brown colors.

Execution of gold and silver techniques, in the Baroque style of the 18th century.

The dresses are made of silver with gilding on the borders of the robes. In addition, the chiseled crowns are gilded, additionally set with precious stones. The shirts are covered with decorations, among which plant motifs (vine grapes and roses ) predominate. The edges of the robes and the scapular are decorated with strings of pearls. On the robe two punches-one illegible, the other OC S4 M. RIEDEL, probably dating from the restoration period.

Baroque style oil on canvas painting made in the 2nd half of the 18th century.

The painting is located on the main altar slider, and depicts the Blessed Virgin Mary Immaculately Conceived floating surrounded by angels. Mary stands in counterpoint, in a ball and tramples a serpent with her feet. She is dressed in a white and gray gown over which is imposed a red and pink cloak with a dark green and blue lining. The angels surrounding Mary are dressed in light green and blue robes. The background is made up of brown and gray clouds.

Oil painting on canvas , Renaissance style from the 1st half of the 16th century, visible influence of the Italian school.

The painting " Annunciation of the Blessed Virgin Mary" is placed in a frame richly decorated with stylized palmetto ornament, in the upper part the frame is decorated with a motif of winged angel heads. The scene takes place in the interior of the chamber, as evidenced by the furniture and the window from which the landscape can be seen. The Blessed Virgin Mary is shown in a kneeling posture with a slight twist of the body, facing the Archangel Gabriel with her hands folded in a prayer gesture. Archangel Gabriel is depicted in profile, in a slight kneeling posture with his right hand raised in a gesture of greeting, while in his left hand he holds a ribbon with a barely legible inscription. The figure is accompanied by the Dove of the Holy Spirit. The modeling of the figures carried out quite sparingly and in a simplified manner, at the same time the drawing was made with a smooth and soft line. Robes softly falling with a certain flair in folds arranged at the feet of Mary and the Archangel. The color tone is maintained in shades of cinnabar. The colors are yellowish gray, brown, the Archangel's robe - white and red, the mantle - gray-blue. The robe of the Blessed Virgin Mary in red and dark blue slightly muted. The image is located in a slider in the main altar.

Baroque style oil on canvas painting from the 1st half of the 18th century.

The painting, similar in shape to a square, depicts an elderly woman - St. Anne - seated on the right. The woman is facing left, with her head covered, wearing a cloak with a fur collar , the folds of the cloak are folded over her knees and wearing a dark dress, with an open book on her lap, held by her right hand on the left is Mary with a childlike face with her head uncovered, her hair braided back with a shawl, wearing a cloak, on Mary's lap is the infant Jesus, standing on widely spread legs in a white transparent shirt showing her body, reaching out her hands to St. Anne. Anna. Behind St. Anne, the back of a chair can be seen. Figures placed against a background of clouds , above them a Dove. Blue tones.

The sculpture is made of gilded polychrome wood, in Baroque style from the 4th quarter of the 18th century.

The representation in the form of two sculptures in the finial of the main altar, in terms of silhouette and elaboration of the form are mirror images.

St. Bishop shown in full figure, frontally in sitting position. Face facing straight ahead, long hair falling to shoulders, hands lowered to knees. On his head is the bishop's infula. Dressed in a white voluminous robe over which a gold cape is fastened at the chest. Proportions correct, body modeling not very precise, schematic.

The sculpture was made of linden wood, polychromed and gilded in the Baroque style, in the 4th quarter of the 18th century.

The sculpture is situated on an interrupted abutment of the lower tier's beam. It depicts a seated bishop in pontifical attire, a high mitre with a Greek cross, a cape and a long robe. From under the kapa, a humerus is visible under his neck, his right hand rests on his knee, in his closed left hand he once held an attribute. Long face with high arched eyebrows, above upward looking eyes, prominent cheekbones, straight nose, open mouth with thick lips - carved schematically. The figure is polychromed in white, the infula and cape are gilded.

The painting of St. John the Baptist is a tempera on board in Mannerist style from the 2nd quarter of the 18th century.

The painting is vertical, closed from the top with a semicircle, monochrome. The figure, painted in umber on a white background, depicts St. John the Baptist in his entirety, standing, facing right, wearing a skin thrown over his left shoulder, girdling his hips and falling behind his back to the ground. The saint holds a cross in his left hand on his long arm, with a lamb kneeling at his feet. St. John's face is drawn, with long hair pulled back, a mustache and short beard, with a straight long nose, large eyes, forward lower lip, wide mouth. Long legs with slightly marked musculature, slightly splayed.