Dug-Out (or Stand-to), 1928 (oil on canvas)

Spencer now transports us the first time to the Salonika front in Macedonia. He intended the thundercloud pattern of barbed wire to indicate a contrast between the threatening atmosphere of this scene and the relative domesticity of the preceding scenes. As they emerge from the trenches, the expressions of weariness and fear in the soldier's faces, except that of the sergeant in the foreground, makes this the most intense scene in the series. But the tension is relieved as some of the men realize what is happening behind them: they are looking beyond death towards the Resurrection on the East Wall.