The overall painting decoration of the interior of the (former) chapel of the Latin Rite Seminary in Lviv, consisting of a series of paintings depicting the "Seven Holy Sacraments" and "Pentecost", was executed by Jan Henryk Rosen in collaboration with his assistant Kazimierz Smuczak in 1929-1931, shortly after the completion of work on the interior decoration of the Armenian Cathedral.

The chapel adjoins the right arm of the transept of the Church of the Purification of the Blessed Virgin Mary to the south. The chapel adjoins the right arm of the transept of the Church of the Purification of the Blessed Virgin Mary, popularly known as the Church of Our Lady of Thunder (now at 30a Vinnytsia Street, before World War II - Czarnieckiego Street), built by the Sobieski family, originally intended for the Discalced Carmelite Sisters. After the Carmelite monastery was dissolved in 1782, the church was briefly handed over to the Franciscans, and the monastery buildings were taken over by the Sisters of Charity. The monastery housed a seminary from 1792 until its liquidation by the Soviet authorities in 1945.

In the 1970s, the monastery buildings and the adjacent former archbishop's palace were taken over by the Office for Quality, Meteorology and Standardisation. The chapel was converted into a conference room; at that time (1975-1976) the paintings were restored. Since the beginning of 1998, the church has been used by the Greek-Catholic Church (partly together with the Roman Catholic Church). The former monastery premises, which include the former seminary chapel, are rented by private enterprises. The Archbishop's Palace building was returned to the Roman Catholic Church in May 2004.

The panelling decorating the lower part of the walls, which is in Neo-Renaissance style, is undoubtedly original. Originally, it probably formed a stylistic unit with other parts of the furnishings. It encircles the entire chapel, covering the walls to a height of about 1.5 metres. Only the chancel section (within the first bay from the north) is distinguished by more ornate and higher-reaching panelling (up to approx. 2.25 m). The panelling is made up of pairs of panels separated by pilasters with carved panels. Above runs a frieze with a prominent cornice. In the presbytery part, at both ends of the north wall (with a space left in the middle for an altar settee), there are two-dimensional imitations of two semicircular niches with shell finials, framed by a rectangular portal frame with a semicircular abutment. The panelling on the eastern wall of this bay was composed in two tiers: in the lower tier, the panels have the form of similar imitations of niches with shell finials to those described above (it can be assumed that the clergy celebrating services and their attendants sat against such a composed decoration). Above the cornice crowning this floor, the panelling repeats its layout from the other walls, only the pilaster capitals are slightly more prominent and the cornice broken above them. The original furnishings of the chapel seem to be missing the altar settee, benches, pulpit, possibly also a confessional or other minor equipment (it is also known that the altar, and possibly other elements of the chapel's furnishings, were made in the Jan Wojtowicz and Son Artistic Church Sculpture Workshop in Przemyślany, established in 1896).

The paintings were created in the years 1929/1930-1931 (the dates on the signatures are 1930, 1931; in one case also added 1936), during the rectorate of Father Franciszek Lisowski (1876-1939). The author of the overall decoration was Jan Henryk Rosen, who painted the figural part of the paintings. He was assisted by Kazimierz Smuczak, who did the ornamental decoration (the following certificate of Rosen for his assistant has been preserved: "I certify that P. Kazimierz Smuczak worked with me at the Armenian Cathedral in Lviv from 1927 to 1929 where he made the ornamentation in the chancel and on the rainbow. In 1930 he made ornaments in the chapel of the Seminary. Latin Seminary in Lviv [...]", dated Lviv, July 27, 1935, original spelling. A photocopy of the document from the collection of Professor Władysław Kucharski of Lublin, received by courtesy of Monsignor Anastazy Nadolny of Pelplin).

Rosen designed an ensemble consisting of eight paintings, accompanying inscriptions (from the Holy Scriptures and liturgical texts) and ornamental decoration in the form of a flowered, colourful floral motif, enriched with images of birds, modelled on the decorations of medieval manuscripts (mainly prayer books of the Franco-Flemish circle from the early 15th century). The painterly decoration of the interior is conceived as a 'page' of a medieval manuscript, on which text and image are juxtaposed side by side, and the whole is decorated in the background with the aforementioned floral tendrils (the same scheme was repeated by Rosen in the wall paintings of St Martin's Church in Krościenko Wyżne).

The iconographic programme of the chapel is the seven sacraments of saints, depicted through episodes from the lives of saints or important historical figures: "Baptism" - St. Adalbert, "Confirmation" - Blessed James Strzemię, "Eucharist"- St. Lucian of Antioch, "Penance" - St. John Mary Vianney, "Penance" - St. John the Baptist. St John Mary Vianney, 'Anointing of the Sick' - St Charles Borromeo, 'Priesthood' - Archbishop Józef Bilczewski, 'Marriage' - (presumably) Mieszko I and Dobrawa. While the identities of the saints - whose iconography and attributes, usually fixed and codified in art, are usually easily recognisable - can be fairly conclusively established, doubts arise in the case of historical figures, e.g. when the artist used an Iryrian or Celtic stylisation in the "Baptism" scene ; similarly, in the scene depicting the "Marriage" many medieval pairs of rulers can be found. The identifications presented above are therefore based on the assumption that the point was (generally) to refer to local and immediate history, i.e. the land of Lviv (Archbishops Strzemię and Bilczewski), and the history of Poland - in symbolic rather than historical terms. Saints Charles Borromeo and John Vianney are almost emblematic figures who model the corresponding sacrament. The most 'exotic' in this group is St Lucian of Antioch. Here, however, the identification based on iconography is confirmed by the description of a photograph of this painting, taken by the hand of Jan Henryk Rosen in the 1970s, when he was already in the United States (the photograph of the painting depicting St Lucian was a gift from the painter to the saint's namesake, Lucien Nedzi, born in 1925, from 1961 to 1981 a member of the US House of Representatives on behalf of the Democratic Party, with Polish roots, whom Rosen met through Mary Flanagan in Washington).

Each painting is an illustration of one of the sacraments, while also depicting an episode in the life of a particular figure - on three walls of the chapel. On the fourth wall, the altar wall - in the upper part, above the now-defunct altar - is Pentecost. Noteworthy is not only the interesting set of figures - usually the less popular ones, relatively rarely depicted in art - but also the erudite choice of texts commenting on the individual scenes, attesting to the artist's considerable knowledge of the liturgy - assuming he chose them himself, which is quite likely given his interest in the liturgy.

The themes of the paintings also seem perfectly suited to the function that the chapel had within the seminary - an institution that prepared priests, among other things, precisely for liturgical ministry, i.e. the administration of the holy sacraments. Fr Wacław Szetelnicki and Fr Stanisław Bizuń mention the paintings in the margin of their description of the seminary's wartime life. Due to their character - an interior closed to outsiders, intended for the private prayer of the seminarians - the paintings were not widely known, described or reproduced during the seminary's existence.

At present, the chapel is in very poor condition, the paintings having fallen victim to mould and fungus, which spread at a dizzying rate due to the dampness caused by the instability of the walls and the leaking roofing of the building; the painting depicting the 'Eucharist' was thus almost completely destroyed; the 'Pentecost' was also badly affected.