To do this, he used all the historical information about the battle, drawings, paintings and photographs of the landscape that he had collected, as well as the detailed sketches he had made. Braun used a grid to transfer the sketch onto the large-format canvas (covering an area of almost 1000 square metres). The study was covered with a grid of squares with a side length of one decimetre, photographed and projected onto the canvas at ten times the original size.

The canvas had previously been covered with a similar but ten times larger grid so that each square of the design could be transferred exactly. For the priming (two layers of oil pastel white), the transfer of the blank and the actual painting - also with oil colours - the team had a rolling scaffold at their disposal. It moved along the canvas on rails and was equipped with wooden panels at different heights. The overall assessment was carried out from the future visitor platform, at the correct height and distance between the canvas and the viewer.

The main shareholders were the brothers Adelrich and Martin Gyr from Einsiedeln. They were inspired by the entrepreneur Benjamin Henneberg, who had panorama tours built in Geneva (1880) and Lucerne (1889) and exhibited the Bourbaki panorama there. From 1893, Henneberg exhibited Auguste Baud-Bovy's ‘Alpes bernoises’ panorama at various locations. He initially worked with Belgian companies, which played a leading role in the panorama business in France and Germany. From November 1892, the Gyrs were involved in the ‘Crucifixion of Christ’ panorama project by Eckstein & Esenwein from Stuttgart for the pilgrimage town of Einsiedeln and quickly acquired a majority shareholding. Opened on 1 July 1893, the panorama attracted between 40,000 and 100,000 visitors a year until 1898.

The Gyrs launched the ‘Panorama of the Battle of Murten’ project with the painter Louis Braun five months before the opening of the Einsiedeln Rotunda. Resistance in Zurich was overcome with the support of the influential ‘Waldmann Committee’. The Gyrs received the permit on 6 May 1893 and the construction plans were approved on 4 October. The panorama arrived from Munich at the beginning of August 1894 and was opened at the end of the month, on 27 August.

According to the contractual agreements with the city, the ‘Battle of Murten’ was allowed to be shown in Zurich for three years. The panorama was then shown in the Grand Panorama de la Jonction in Geneva from 1897 until at least 1904. It returned in 1907 at the latest. After the Panorama Society was dissolved in 1918, the rotunda on Utoquai was converted into a car garage and demolished in 1928. The painting was acquired by a manufacturer from Oberhofen TG, Sutter, who offered it to the Murten municipal council for 1,200 francs in 1919. The purchase was finalised in 1924. The panorama was transferred to Murten, where it was deposited in the depot and occasionally partially unrolled for onlookers.