This theme, already approached in 1927 in a small, highly stylized pen and ink drawing, is here taken up again with a much more realistic treatment; nonetheless, Sassu’s early stylistic traits modeled on Futurism are still readily evident in the rhythmic schematization of the composition and the choice of subject. The three human figures at work, elementary in form, lift a long beam presented totally in the foreground. We find here applied the principle of "dynamism and muscular reform" already enunciated in the The Painting Manifesto of 1928, drawn up by Sassu and Bruno Munari. Foundation of the document is the idea of a "synthetic antiperspectival vision," born from the abolition of "natural perspective," and a certain Constructivism which in that period Sassu shared with Giandante X.