I painted the first theme the second time it is stated, starting at measure No. 17. The grace-note/quarter-note driving rhythm in the background strings was embodied by both the inside and outside of the Marble Hall, the grace notes by half-inch strips of inside image and the quarter notes by 1 1/2 inch strips from the outside of the building (Fig. 1-3). Because the inside strips are so thin and widely spaced from one another, it is difficult to see what the image actually is, but it operates on a subliminal level. Perhaps the astute observer will recognize it in the painting of the second theme, which shows the inside of the Marble Hall in great detail.

The actual melodic theme is represented by the Alps as an "image-overlay" against the inside/outside St. Florian's background. The grace note in the 3rd measure (No. 19) is visualized by upending a half-inch strip. The scale of the mountains is increased in the 9th measure when the dynamic level moves from fortissimo to fortississimo. The mountain image is split, so the enlargement is easily recognized as it repeats the smaller image to the left and also starts again to the right in the resumption of the Alpine theme in the 1th measure (No. 31). During the rest in this line, St. Florian's takes over the complete strip except for the trumpet line (Fig. 4).

The trumpets enter as a large block of red color in the 9th measure (No. 25) (Fig. 5). The boundary line has at this point become completely independent from any border between images and has reached a height of 8 inches (20.3 cm), becoming half as large when the dynamic level diminishes in the 13th measure (No. 29). At this point St. Florian's also dramatically decreases in scale.

The first theme during this second rendition begins on Ab minor red and the 4th measure (No. 20) changes to its parallel major of green-yellow. The glaze values follow horns 5 and 6 until the 9th measure (No. 25) where the glazing takes up the kettledrum tremeolo. Instead of alternating rapidly between light and dark values, here the tremolo is visualized through rapid movement between Ab major green-yellow and C minor yellow until measure 15 (No. 31) where the modulation is completed and C minor yellow is the only color. At this point the tremolo is a light/dark alternation; it stops at the next measure, at which point the glaze picks up the trombone line, also echoing the Alpine horn theme, and goes through a greyed cadence which ends on a pure C minor yellow. The glaze is particularly intense between the 9th and 12th measures due to the fortississimo dynamic level.