In the first painting from the first movement the theme is portrayed by the architecture.(Fig. 1, Fig.2, Fig. 3) It is an inner image, illusionistically appearing as overlaid or sitting in front of the landscape. St. Florian's is not fractured until the 18th measure, after which it takes over the entire strip. One can read the melody from the bottom and top lines of the architectural pictures. The tremolo in the strings, against which the theme is played, is imaged by an alternation between two different alpine pictures, two inches of one followed by two inches of the other.(Fig. 4) The glaze values (light/dark/light/dark) change every inch, or twice the speed of the two alpine images. (Fig. 5) This flickering, or visual tremolo, continues up to each of the short sections wherein one Alpine image is fractured to the clarinet/oboe melodic fragments. This single Alpine image also alternates between the two Alpine pictures. In the eighteenth measure, where St. Florian's occupies the entire strip, the image is fractured according to a typical Brucknerian two beat/three beat motive.

Dynamic changes are shown by giving over an ever increasing area of the module given to the St. Florian's image and by naturally increasing, then decreasing, scale according due to the perspective used in the initial drawing. (Fig. 6) These changes are reinforced with ever increasing intensities in the glazes.

(Fig.5) The opening glaze is orange, due to the F pedal tone which eventually appears to be a dominant of Bb minor. The colors pass through yellow on the way back to orange as Bruckner modulates to B major, briefly llanding on C minor. (Bb minor is the same color as B major because I have placed the minor color wheel three steps behind the major wheel.) As the music passes through the region E major, the painting takes on a red/orange hue. Borrowed chords and pivot chords beginning in the sixteenth measure sprinkle the painting with purples from G major, yellows from C minor, and blues from B minor, although one does not see this clearly because the colors are greyed out considerably by the dissonances of the chords. Until the 4th measure the colors are relatively pure, as the chords are basically consonant. By measure eighteen the painting is C minor yellow, with a very short yellow/orange moment of F minor, finishing the first theme back on yellow.