The tower, farmhouse and Morgarten Chapel in the natural basin of Schornen form an exceedingly agreeable group.
Located on the road to Sattel, the chapel bears the date 1603 above the door. The 18th century saw the unadorned edifice given a prominent porch featuring shaped timber posts. The soffit would have been plastered at the same time. Until 1956 the porch served to protect the mural titled Battle of Morgarten (1820) by Michael Föhn. Belonging to the same epoch is the small, classically styled altar with its depiction of the crucified Christ and the lateral arcades featuring Sts. Peter and Paul. In 1957 an artist from Goldau, Hans Schilter, created a new mural in the porch titled Advancing to battle to replace Föhn's faded painting. Deploying the same Keim process, Schilter used shades of blue to paint a St. Christopher on the side of the chancel. The depiction of this patron saint of travellers on an exposed flank of the chapel's exterior follows a thousand-year-plus Alpine tradition.
The restoration of the Morgarten Chapel had, as its object, to preserve the historic fabric and to investigate the development of the chapel. The researchers were in for some surprises. For instance, they came across substantial remains of an earlier colour scheme beneath the coats of paint applied in the 19th and 20th centuries. The side windows were adorned with a trompe l'oeil mural picked out in ochre tones. The plinth to the rear of the pews also featured the same colour. The tops of the walls once featured a painted frieze. In terms of style, this simple yet effective decoration belongs, like the altar, to the early 19th century. It might have been executed by Michael Föhn, creator of the altar motifs. Owing to this unity of design, it was thought appropriate to return the interior to its former appearance. The timber ceiling, installed during the restoration of 1956/57 as a copy of the original, was included in the colour scheme. The original altar was cleaned and the discoloured varnish removed. This helped emphasise the quality of the original marbling. The original small depictions of the "helpers in need" created around the middle of the 19th century were enframed in fresh surrounds. They were replaced on the walls of the nave.
The ceramic floor tiles were not touched, while the timber floor beneath the pews was renewed, due to its poor condition. The wall panelling was removed to make way for the various murals, which necessitated the adding of Wanddoggen to the baroque pews.
The humidity of the climate called for the installation of a drainage system around the chapel. The structurally poor exterior render was not replaced, but simply given a top coat of lime render. This did much to improve the texture of the plasterwork.
The murals by Hans Schilter were cleaned and stabilised, the woodwork of the porch painted oxblood red as before. The stone bases of the posts in the porch were strengthened and reshaped to look like the originals. The measures carried out meant that the history of the chapel from the early 17th to well into the 20th centuries could be preserved. The alterations and additions realised at various times complement each other to create a harmonious whole.