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THE CAPITOL DOME 48 San Francisco Bay scene, for example, depicted the forti- fications in a rather blurry fashion, and there were no sailing vessels in the distance between the forts (fig. 5). But otherwise, it was a fine rendition. 8 Leutze's studies and sociability did the trick. In early July, he was awarded a contract to paint Westward on the wall of the west staircase of the House wing, for $20,000. With papers signed and agenda clear, the artist headed out West, to see as much of the Rockies as he could and sketch the details that would bring the paint- ing to life. Later that same month, a column of Confederates invaded the New Mexico Territory. Aer a short battle with Union troops at Mesilla, the rebels declared the lit- tle town to be the capital of their new Arizona Territory. is addition to the Confederacy stretched—according to the rebels—from the Texas border, through Mesilla and Tucson, and ended at the border with California. e creation of such a long, thin territory by the Confederates sent an unmistakable message: the Golden State was at risk. As the summer of 1861 turned to autumn, it became increasingly clear to the northern public that the rebellion was not going to end quickly. Further still, the risk of Confederate action appeared—at least from Seward's perspective—to be taking on an almost global dimension. On the 25th of October, Seward received a dispatch from U.S. Commissioner to the Kingdom of Hawaii omas Dryer: "It is the opinion of nautical men here, Fig. 5. Leutze's second study of Westward the Course of Empire Takes its Way was painted expressly for William Seward. (e painting is also known by the shorthand Westward Ho!)