In fact, among the illustrations made for the Swiss poet’s book, in 1917, one is emblematically entitled Plastica Metafisica (Metaphysical Plastic). That of Depero is therefore a new, further, vision of reality that arises between metaphysics and magic. Other works instead live on decorative emphasis, such as La Ciociara or the first version of Paese di Tarantelle (Country of Tarantelle), which confirm the atypical nature of his futurist militancy.
Carlo Belli, defined the set of these atypical works as belonging to the “metaphysical neoclassicism” of Depero. He certainly did not mean the term “neoclassical” as in the common sense, that is, to use his words «not the revival of classicist models, more or less ancient, as happens in the poor pictorial and literary Noucentisme of some Italian artists already militants in futurism , but, in the case of Depero, the establishment of a classic sentiment of a new vigorous invention, understood as an opposition to romanticism, impressionism, symbolism and … neoclassicism»(8). The modalities of this poetic were a sort of “obsession” to solidify the vague flows left in the air by impressionism, the abolition of the half-tones, the recourse to the “mechanical muse” and the chromatic violence enclosed in well-defined fields, often with three-dimensional results.
In short, at this moment Depero was even beyond Futurism.