Oil on canvas in Baroque style from the 2nd half of the 18th century .

The antependium is decorated with a basket of flowers on a decorative pedestal, a pincer ornament all around, floral-plant wreaths in the lower corners and a regency ornament.

Altarpiece made of polychrome wood, in Baroque style, in the 2nd quarter of the 18th century.

Wooden altar, single-axis with painted antependium, settee composed of a pedestal, Corinthian columns with acanthus appendages and angel heads entwined in them surround a rectangular field closed with a semicircle, above it a curved cornice on high consoles, above it in a rectangular frame with chamfered corners a canvas with the image of St. Mary Magdalene. Above it in a rectangular frame with inwardly cut corners a canvas with the image of St. Mary Magdalene, the frame framed in acanthus ornament topped with a golden gloria - in its field the monogram "IHS". Earpieces and columns silver-plated, angel heads gilded. Pedestals under the columns decorated with panels with ribbon ornament. The frame of the main painting is stepped, surrounded by 2 profiled slats. In the antependium depicted on canvas Apotheosis of the church from the end of the 18th century. - repainted, in the main field an image of St. Valentine in a metal dress, silver-plated in the 18th century.

Oil painting on canvas made in the Baroque style circa mid-18th century.

The painting is rectangular, closed from the top with a full, suspended arch. It depicts the saint standing in the middle wearing a silver dress depicting pontifical vestments, with his right hand blessing a kneeling group of people with children in their infancy in the lower left corner, with his left hand holding a small crucifix on his chest. St. Valentine's head is framed by a sheet-cut nimbus, his face with a low, rectangular forehead, protruding cheekbones, a long, slightly humped nose, large sunken eyes, is surrounded by a short beard around his narrow, slightly smiling mouth and on his chin. At the back, to the right, against the background of the curtain, an altar in the form of an aedicula framed by two red columns with a shining crucifix, below it a chalice. On the right a fragment of architecture - a large pillar, a window, a door with a semicircular tymperon through which a group of 4 people enters, those in the closer plan - dirty men with moustaches dressed in light robes of eastern character. They kneel, at the door two women in the clothes of townswomen slightly bent, in their faces the author tried to show despair and weeping. At the feet of St. Valentine in infancy two children. The painting is kept in warm brown and red tones.

Oil painting on canvas made in the Baroque style at the turn of the 17th/18th century.

The painting is located in the finial of the right side altar /near the choir/. It depicts St. Mary Magdalene, shown in bust, in "three-quarter" type. The saint's oval head is tilted to her right shoulder. The nose is straight, the mouth narrow, with a slightly protruding chin. A faintly legible inscription in Latin is obscured at the bottom. Mary Magdalene's face is pale, surrounded by black hair pinned back. Neutral gray-blue-brown background.

Made of polychrome wood, in Baroque style, in the 2nd quarter of the 18th century. Decorative door on which we see a golden chalice with the Host. It is an integral part of the Altar of St. Valentine.

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

In the antependium a symbolic Apotheosis of the Church on a dark red background of walls and clouds allegories of Hope and Faith - two women - above them a dove, below a papal tiara in a decoration of festoons and pincers. The allegory of Faith is depicted with her robe-covered head facing left, holding a chalice in her outstretched right hand, her left hand supporting a large Latin cross. The allegory of Hope is depicted with a younger woman facing right, a large anchor at her feet.

A magnificent gloria with a dove of the Holy Dry - Sculpture made of gilded wood. From the Dove, there are rays going off. The sculpture is part of the main altar.

The painting of St. John of Nepomuk is a tempera on board in the Baroque style, created around the middle of the 17th century.

The picture, painted on a board cut according to the contours of the figure and mantle, depicts St. John of Nepomuk facing left, in priestly garb - black cassock, white rocket, fur mucet, and black biretta. In his left hand he holds a cross pressed to his chest. He has an oval delicate face with dark eyes, a narrow nose and a small mouth. Short hair reaching to the nape of his neck, his face is framed by a dark brown beard.

Image of Our Lady of Perpetual Help from the early 20th century.

It is topped with a sun disc with a Marian monogram. This painting is a copy of an icon depicting the Mother of God with a child. The Blessed Virgin is pointing to her Son. Clearly visible influences of Byzantine-Cretan painting as well as Western influences.

The Greek letters are abbreviations for the names, placed above the heads of the figures indicate that the painting depicts the Mother of God and Christ.

On the left side of the figure is an image of Archangel Michael on the opposite side Archangel Gabriel. The Mother of God is painted in a half pose, hieratic and frontal. On her left hand she holds Christ, while her right hand rests on her chest. The figures do not look at each other. Jesus is facing to the left, up against the painting's golden background, while the Mother's gaze is directed directly at whoever is praying in front of the painting.