After arriving in southern Austria in 1911, Jama traveled the region in search of motifs between Krems and Weissenkirchen. The painter also made good use of the Wachau railway, and along the new line from Krems to Dürnstein he also came across the Gothic church in Förthof near Stein. It is difficult to find in Jama’s oeuvre another example of such a determined juxtaposition of a historical monument and markers of modernity. The track bends between the church and the hill, disappearing past the distant hill before the blue smear of the Danube. A road, denoted by a line of electric poles, crosses the tracks in front of the church, which is accompanied by a cluster of houses. And yet, everything coexists in tacit harmony, which the painter achieved by employing a texture of fine dots, with which he combined the subject figures into a unified tapestry of strokes across the whole canvas. In the clear midday light, the softened, almost timid shadows are subjugated by the vivid atmosphere. The dynamic feel of the intersecting roads is interrupted by the vertical mass of the old building.