Early in 1860 he received from the Government of the United States a commission to decorate one of the marble stairways in the Capitol at Washington with a mural painting.  The painting was to be executed in fresco, and he chose as his subject, “Westward the Star of Empire Takes its Way.”  He entered upon the undertaking with the keenest delight, and in order to make himself thoroughly acquainted with the true character of frontier scenery and life, performed what was then the long and difficult journey to the Rocky Mountains, where he made numerous sketches.  Returning to the States, he sailed for Europe, and went to Munich to learn from Kaulbach the new stereochromatic process which has now superseded the fresco-painting of the middle ages.  Returning to Washington, he applied himself to his task, and in a couple of years completed it.

The picture is the largest and finest mural painting in America, and adorns the magnificent stairway at the north end of the west corridor of the House of Representatives.  It is lighted from a sky-light in the roof, and is seen to the best advantage from the upper corridor.  The coloring is softer and more life-like than is often seen in such paintings.  The surface of the wall is rough, but the work has been done by such a master hand that one seems to be gazing upon real life.  It is a wonderful picture—­one that will repay weeks of study.

The scene represents a train of emigrants crossing the Rocky Mountains.  They have reached the summit of the range, from which a glorious view stretches out before them to the westward.  The adventurers consist of the usual class of emigrants, men, women, and children.  There are several wagons and a number of horses in the train.  The faces of the emigrants express the various emotions which fill their hearts as they gaze upon the glorious scene before them.  Some are full of life and vigor, and hope beams in every feature, while others are struggling with sickness and despair.  The advance of the train has been momentarily checked by a huge tree which has fallen across the trail, and two stout men, under the direction of the leader of the party, who is sitting on his horse, are engaged in hewing it away with axes.  Two others have climbed to the summit of the neighboring rocky crag, on which they have planted the banner of the Republic, which is seen flapping proudly from its lofty perch.  In the foreground stands a manly youth, clasping his father’s long rifle firmly, and gazing toward the promised land with a countenance glowing with hope and energy.  His sister, as hopeful as himself, is seated by her mother’s side, on a buffalo-robe which has been thrown over a rock.  The mother’s face is sad, but patient.  She knows well the privations, toils, and hardships which await them in the new home-land, but she tries to share the enthusiasm and hope of her children.  She clasps her nursing infant to her breast, and listens to her husband, who stands by and points her to the new country where they will have a home of their own.  Her face is inexpressibly beautiful.  The rich, warm light of the rising sun streams brightly over the whole scene, and gives to it a magical glow.  The legend, “Westward the Star of Empire Takes its Way,” is inscribed over the painting, in letters of gold.