In Vienna
In 1694 Andrea Pozzo had explained his illusory techniques in a letter to Anton Florian, Prince of Liechtenstein and ambassador of Emperor Leopold I to the Papal Court in Rome. Recommended by Prince Liechtenstein to the emperor, Andrea Pozzo, on the invitation of Leopold I, moved in 1702 (1703?) to Vienna.There he worked for the sovereign, the court, Prince Johann Adam von Liechtenstein, and various religious orders and churches, such as the frescoes and the trompe-l'oeil dome in the Jesuit Church. Some of his tasks were of a decorative, occasional character (church and theatre scenery), and these were soon destroyed.
His most significant surviving work in Vienna is the monumental ceiling fresco of the Hercules Hall of the Liechtenstein garden palace (1707), an Admittance of Hercules to Olympus, which, according to the sources, was very admired by contemporaries. Through illusionistic effects, the architectural painting starts unfolding at the border of the ceiling, while the ceiling seems to open up into a heavenly realm filled with olympian gods.
Some of his Viennese altarpieces have also survived (Vienna's Jesuit church). His compositions of altarpieces and illusory ceiling frescoes had a strong influence on the Baroque art in Vienna. He also had many followers in Hungary, Bohemia, Moravia, Slovakia, and even in Poland. His canvases show him to be a far less compelling a painter at close inspection.
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“All the terrors of the French Republic, which held Austria in awe, were unable to command her diplomacy. But Napoleon sent to Vienna M. de Narbonne, one of the old noblesse, with the morals, manners, and name of that interest, saying, that it was indispensable to send to the old aristocracy of Europe men of the same connection, which, in fact, constitutes a sort of free- masonry. M. de Narbonne, in less than a fortnight, penetrated all the secrets of the imperial cabinet.”
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