Two frescoes from the history of 1683 (Mass of the papal legate before the battle with King John III, Prayer of Pope Innocent XI), depictions of Saints Leopold, Joseph and John Capistrano and heraldic fields with the coats of arms of the Polish nobility participating in the battle decorate the walls of the Polish chapel on Kahlenberg Hill.

The church on Kahlenberg was built around 1734, rebuilt by the Camaldolese monks whose monastery was destroyed by the Turks in 1683. After the dissolution of the order at the end of the 18th century, it became private property. On the anniversary of the Battle of Vienna, in 1883, a marble plaque was unveiled on the façade of the church to commemorate the victory over the Turks, including King Jan III Sobieski. In 1904, the Polish associations in Vienna funded a memorial plaque inside the church. In 1906, the church was handed over by the landowner to the Polish Resurrectionists from the Gardekirche on Rennweg in Vienna. After 1920, on the initiative of the Gubrynowicz family, the sacristy and adjoining chapel were converted into a museum of Sobieski memorabilia (their actions are commemorated by a plaque from 1933 in the church). A polychrome painting of the walls of the chapel completed the programme of the "shrine of the Vienna Victory".

Jan Henryk Rosen had previously achieved great success with a large-scale wall painting in the Armenian Cathedral in Lviv, completing it in 1929. In 1930, he had just become a professor of drawing at the Lviv Polytechnic. He developed the modernist stylisation of Byzantine and early Renaissance patterns applied in Lviv on Kahlenberg. It is part of the search for decorative art carried out in Europe from the end of the 19th century in the Nabist circle, under the influence of the Pre-Raphaelites, Ferdinand Hodler and the Viennese Art Nouveau, and in Poland in particular by Józef Mehoffer. Strongly contoured patches of expressive colours, the composition of individual fields reduced to a simple scheme, build up the monumental expression of the scenes despite their small scale. Rosen's highly acclaimed works in Lvov and Vienna probably contributed to his being commissioned in 1932 to decorate the papal chapel at Castel Gandolfo, where religious themes were also combined with historical ones.