The last painting from the second movement is a translation of the final 21 measures from the Scherzo (No. 174-195 in both Haas and Nowak editions). The image is the same as the first Scherzo painting, but is re-drawn using a perspective whereby the left half of the picture is smaller. The image here is farther from the viewer, but gradually grows larger as it comes closer. This is because the dynamics begin at piano and steadily climb towards fortissimo. St. Florian's is used for two motive lines in the music and occupies both the top and bottom thirds of the painting.

The Alpine image, which is not a high peak but rather a rounded hill with one tree on it and backed by a dramatic sky, occupies the middle section of the painting. This tree is painted and re-painted a total of five times, each one larger than the last, in order to express the growing dynamics clearly.

There are two boundary lines in the painting which disappear during rests in their motives. These begin at a height of two inches (5.1 cm) and grow in steps to six inches (15.2 cm) along with the increasing loudness. The sixth voice is present in the changing values of the glaze.

These 21 measures, with their layering together of many lines, are the most complicated in my whole Bruckner cycle until the last 13 measures of the Finale. The visual format of the painting is therefore layered into the before mentioned six voices. These voices achieve a woven effect thanks to the staggering of the beginnings and endings of the individual motives. When one voice has a rest, the image below or above it in the painting takes over its section of the strip. The boundary lines never do this; they just begin and end with their own voices.

The task of re-orchestration was a very complicated and important procedure in this painting. There are more than twenty voices playing in the music; however, many of them are doubles. I had to represent the primary voices, eliminating their doubles, and then place them within the painting so that they can visually meld together in the same way the Scherzo accomplishes this aurally. Therefore, the flutes were put into the middle zone of the painting and portrayed by the Alps. Their motive of begins in the middle of the measure. The same motive occurs in the upper St. Florian image, or the trumpets, but it begins after an 8th-note rest. The Alpine flute motive changes after a while to a basically rhythmic motive of . This is the same as the upper boundary line (2nd flutes), here called B.L.1. These two lines move in synchronization with one another. During their mutual rests the upper St. Florian's line runs all the way through until the 2nd or lower boundary line (B.L.2.). When the Alpine line continues up for rests in the upper St. Florian's line it must visually go under B.L.1. Thus, a "woven" effect is created.

The lower of B.L.2 (horns 3 and 4 and sometimes 1 and 2) moves closely with the lower St. Florian's line (the tremeloed line of the 2nd violins), although it does not tremolo. The 2nd-violin tremolo is made visual in the same way as in the first Scherzo painting. The strips were cut into half-inch pieces and given 3/16-inch spaces between them when they were on the wall during the painting process. This small articulation can now be seen, as the lines which are not perfectly parallel to the bottom edge of the painting do not meet exactly. When the Alpine line takes over the strip during rests it moves freely past B. L. 2, which also at rest. Sometimes the St. Florian lower line, while moving upwards through the Alpine section, appears to go under B.L.2 and sometimes, especially towards the right side of the painting, it has a clear path through because of the diminution of the motive in B.L.2.

The changing value of the linear glaze begins in the cello/double-bass line and moves to the 1st and 3red clarinet line. As the dynamics of the lines increases the values increase mathematically.

The harmony is very uncomplicated in the cadence of the Scherzo. The painting begins in ;C-major blue, which continues until the 9th measure (No. 183) where it becomes a C-minor yellow region. However, the movement ends on a Picardy Third, and therefore returns to blue. The simple harmonies provide few color changes and no chromatic coloring. This is of course in stark contrast to the Trio.