The third theme used both "image overlay" and "equal plane/independent action". During the first six measures of the painting the oboes, followed by the flute line, are inner images, thereby effecting a visual overlay. A strong counterpoint dominates the first four measures. I have achieved this visually by giving the theme in the clarinets to St. Florian's architecture, while the counterpoint to this theme, in the oboes and flutes, are embodied by the landscape image. Also reflecting the idea of opposition is that the architectural image is fractured but the Alpine image is not. One reads the melody of the Alps only through the placement of the landscape modules moving within the vertical format of the whole painting.

The first eight measures are glazed by chords, reflecting the tubas and of course all harmonic movements and qualities. Dynamics in the glaze lines are raised by increasing all value numbers in mathematical percentages.

The dynamic relationship between the flute/oboe line and the clarinets is expressed through different percentages of the 47 inch (119)cm) strip given to each line. Even though both themes start piano, I decided to give one third of the strip to the upper oboe/flute line. Then, when this becomes mezzo forte, the space allotment increases to one half of the total. I did this in order to be able to emphasize the fact that the flute/oboe passage is an upper line, floating the relatively smaller strips at the top of the painting. This is the kind of non-systematic decision I make in order to express the idea present in the original language (music) better in the new language (painting) than I could in a one-to-one mathematical equivalence. In the 5th measure, or measure No. 93 (According to both Haas and Nowak editions), where the soft piano returns in the flutes, the ration again becomes 1:3. The scale of the landscapes then increases during the mezzo forte section. Meanwhile, the scale is also changing within the St. Florian's line. The first four measures are piano and the corresponding image appears on a larger scale than it does in the next four measures, where the dynamic level is pianissimo.

The theme begins with a very dissonant inverted German 6th chord in Eb minor, holding onto its 50% grey until the third measure, where a tonic 6/4 gives over to a 20% complementary color of red-orange. This color remains until the 12th measure of the painting, where a series of three diminished and minor chords move chromatically in a harmonic rhythm of one per measure. Then begins a sequencing series of alternating diatonic and chromatic scales which move step wise around the wheel. Thus the 12th measure is yellow-orange, the 13th is purple, and the 14th is green. The same green starts the 15th measure's first diatonic scale. The next measure is the first chromatic scale and is turquoise blue, followed by yellow-orange, then green-yellow, red, blue-green, and finally, Eb minor red-orange. The last strip in the painting is the first note of the 110th measure and is Eb major green. The rest at the beginning of each measure in the architectural and landscape lines has provided an opportunity of the first note of the glazing hue to be clearly painted over a clean white strip. The color at this point is clear of any of the greying influence in the later additions of dissonance (i.e., complementary color). The second strip is a 30% dissonant color, and the rest of the measure is 40% complement for the diatonic scales and 50% for the chromatic scales. The final Eb-major chord is very consonant, at a complement of only 10%.