His artistic talent, excellent training, mastery of technical problems, organisational talent and speed of work enabled him to create panoramas every two years and acquire a considerable fortune. He was the most renowned panorama painter in Germany in the late 19th century. The panoramas represent the pinnacle of Braun's work - and at the same time mark the end of history painting.

In the 1880s, Braun built a studio in the shape and size of a panorama roundel for his panorama commissions on the Theresienhöhe in Munich. He employed a team of painters and assistants. For the panoramas, he visited the terrain and obtained information from the officers, soldiers and other eyewitnesses like a modern reporter. His panoramas are pictorial reportages that offer the highest degree of authenticity in their depiction. Braun always chose the moment of battle that allows the visitor to recognise who will win. This is also the case with the ‘Battle of Murten’.

‘The Battle of Murten’ was the last of eight large panoramas painted by Louis Braun between 1880 and 1894. Five of them depicted battles from the Franco-Prussian War of 1870/71, another the suppression of an uprising in the German colony of Cameroon. Only the last two, the Battle of Liège (1632) and the Battle of Murten (1476), depicted historical events from earlier centuries. Louis Braun's passion for painting horses had been awakened in him by his brother Reinhold, who was a horse painter. Louis cultivated it throughout his artistic career. The horses shown in every conceivable position in the panorama of the Battle of Murten catch the eye and are perhaps the best thing about this painting.