Sironi, a fervent nationalist and supporter of the Italian fascist party, began to use motifs associated with ancient Rome in his paintings of the early 1920s. Later works expressed a more primitivist or mythological vision of classicism, addressing the themes of rural work and the family. In this he may have been responding to the fascist Strapaese movement and its idealisation of rural values. Unusually for Sironi, there are no figures in this landscape: the human presence is indicated only by the small, cube-like houses and roads at the foot of the great mountains. The mountains are not thought to depict any particular view, though they may have been inspired in part by the Dolomites where the artist spent his summer holidays.