The second theme is slower than the first. Therefore the width of each measure has been increased, from 8 inches in the first painting to 12 inches. It is a counterpoint with three, and occasionally four, voices. Equal importance is given to the top and bottom lines, so "equal plane/independent motion" is an appropriate structural format for the painting. I decided to base the upper and lower voices on the same image, a photographic compilation of one half of the inside of the Marble Hall from floor to, and including much of, the painted ceiling, depicting an homage to Emperor Charles VI. (The ceiling paintings and frescoes are the work of the Altomonte brothers and the architectural painting is by Ipplyto Sconzani). I did not use any Alpine image, as the effulgence of the painted ceiling provides the necessary mood.

There are three different perspectives and five scale changes in my depiction of the room. In the completed painting one can see the voices moving towards and away from each other as the ceiling and floor of the room come closer and then farther apart. When there is a rest in one voice, the other occupies the entire strip. Because dynamic changes are so important in Bruckner's music there are passages in the painting when the melodic movement or stasis is affected by scale changes. This is another example of a work transformed into a language whose properties differ greatly from those of the original language. The translator is constantly forced to make choices based on subjective decisions about relative importance.

The upper voice in the horns has a dynamic level of mezzo forte while the middle and lower voices in the strings are at piano. This is visually expressed through a 6:4 spatial ratio within the strip. This line is performed by both the upper half of the Marble Hall and the glaze line until it ends in the 5th measure (No. 73), where these two visual elements then embody the first violin line. The middle voices (first violins until the 7th measure, then the 2nd violins and cellos) represented by a 2 inch (5 cm)--high neutral grey line. In the last four measures of this ten measure painting two grey lines represent the two inner voices, which sometimes come so close to each other as to form a solid block. I painted this line a neutral color, one which would not stand illusionistically in front of the images, in order to preserve the equal-plane nature of the painting. The lower half of the Hall represents the second violins and cellos until the 5th measure, where it stays in the cellos but gives up the violas and takes on the double-basses. During the second half of the 5th measure and the whole 6th measure this lower half of the image is in the complete strip, because the other voices are silent.

The harmony is very simple. Except for a small amount of F minor orange chromaticism coloring the 7th and 8th measures, all is Ab major yellow-green. Dissonant grey colors can be seen through non-harmonic tones in the 5th and 6th measures and in the cadence of the 9th measure.