The relics of St. Felix are housed in a wooden coffin covered with Rococo ornamentation from the 1st half of the 18th century and are in the brick mensa of the main altar.

Initially, the relics were located in the porch of the Trinitarian church in Tomaszów, from where they were moved to the Church of the Annunciation of the Blessed Virgin Mary after 1783.

The saint, whose torso, head hands and legs are reconstructed, is shown in a reclining position with his head supported by his arm bent at the elbow. He is dressed in colorful vestments (1st half of the 18th century) with gold borders, and is covered from behind with an amaranthine hood.

Detail of the main altar, gilded and polychrome wood, Mannerist and Baroque, 2nd quarter of the 17th century and 1st half of the 18th century, quantity 11

The details are made of gilded polychrome wood in Mannerist and Baroque styles from the 2nd quarter of the 17th century and the 1st half of the 18th century.

We highlight 11 pieces of these details.

The altarpiece is made of polychrome wood with gilding and silvering, in Baroque style, it was created around the mid-18th century. Portal-column altar, single-axis, two-story with gables. The retabulas are framed by two pairs of columns with smooth shafts with rich composite heads, set on high pedestals, and cannel pilasters with stylized composite heads, on which rests a prominent, richly carved interrupted cornice with faults, above it a volute pediment, in the middle a vase with flowers. Above the inner columns putti. On the sides of the retable narrow acanthus appendages with volutes. The second tier, in the form of a panel framed by piastres with a companula motif and supported on both sides by stylized volutes with a sequined motif and an openwork crest of bells on the upper edge, is crowned by an abacus composed of sections of a circle and vases with flowers, with a radial gloria at the top.

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

The rectangular painting, capped at the top by a semicircular arch with a key, depicts St. Catherine standing facing slightly to the right. The saint is dressed in a ruffled robe, exposing her shoulders. In her right hand she presses a palm leaf to her chest, in her left hand she holds a sword, and a wheel lies at her feet. The saint's face is uplifted, round with a convex forehead, long straight nose and thick lips, almond-shaped eyes under arched eyebrows raised upward. The saint is placed against a backdrop of clouds and angels hovering around with banners with inscriptions. The first from the top left: ...G.CATHARINA VIRGO ATUE MARTYR, the second MATRONA, the third indistinct:...APIFE ARISSSME, from the top right: ARCHICON... the continuation is obscured by an angel's hand and at the bottom: TRINITATIS REDE. Coloring local, blue-red.

The painting is a tempera on board in the Baroque style from the 1st quarter of the 18th century.

The painting, painted on a board cut according to the contours of the figure and mantle, depicts St. Casimir facing left, wearing a princely mitre and ermine mantle, looking at a crucifix held in both hands. The face is surrounded by long hair, full with a low forehead, wide eyebrows, lowered eyelids, a long straight nose and narrow lips. The figure is depicted in ¾, the color scheme is purple and white.

Classical style oil on canvas painting from the 1st quarter of the 19th century.

Image of Our Lady of the Rosary. Mary stands in the center of the blue background, facing left, surrounded by a wreath of large flowers. At her sides she has antithetical angels holding a banner with the inscription: "LORES ROSARUM, CIRCUM PABANTEAM," with outstretched wings, girded in carmine light perisonium.

A sculpture made of gilded polychrome wood in the Baroque style from the 1st quarter of the 18th century Quantity two in the side altar

The sculpture depicts a seated nude Putto with a full face, with curls over her forehead, narrow eyes under raised eyebrows, a squinty nose, an open mouth with thick lips. Hands with slightly bent elbows extended forward as if holding something, a bloated belly, a piece of robe thrown over the left hip, fat legs with small feet spread wide apart. The angel was polychrome white, wings gilded.  

The altarpiece is made of polychrome and gilded wood, in Baroque style, in the second half of the 18th century.

Architectural, portal-column altar, single-axis two-tier, in the lower tier two pairs of columns set on high pedestals stepping forward, composite columns, set on bases, with high decorative heads, on which supports curved above the columns, above the inner column obliquely overlapping cornice, at the back narrow strips of acanthus appendages, the wall with the image of Christ showing the heart retracted, the transition between the columns and the cannelled composite pilasters set at the frame, rounded at the corner, the painting in a richly profiled frame, closed at the top with a concave-convex arch with rococo compound ornament, above supported on a high cornice an interrupted volute pediment with a vase, on the axis of the inner columns, on volute brackets seated two putti, behind them painted on a board angels; the upper tier formed by two pilasters decorated with a panel with a lambrequin overhang, supported on the side by slender ears ending in a small volute at the bottom, decorated on the upper edge with an openwork crest, on the axis an image of St. Veronica with a shawl. Veronica with a shawl, above it a 7-part shell, the top is formed by an interrupted pediment built of circular sections, with which a slightly receding heart-shaped finial is connected, on the axis of the ears vases with flowers, at the top on the axis a gloria with the heart of Christ in a thorny wreath.

The altarpiece is polychrome white, with gilded columns, pilasters, mouldings and ornaments.

Oil painting on canvas made in contemporary style in 1912 by A. Tęczynski.

Located in the right side altar, the painting depicts Christ standing on a crutch, with his right hand pointing to the Burning Heart. The left hand is raised in a gesture of blessing. Christ is dressed in a red gown, over which is imposed a blue cloak. Hair and beard - brown. The globe is gray-brown. The background of the composition is composed of clumped clouds in various shades of brown.