The composition is the second in the series and dates to 1971. The figures are rendered with considerable abstraction and schematisation, combining biomorphic and geometrical shapes. The almost sculptural simplification and immobility of the figures lends this daily activity a monumental weight. The women’s faces in the foreground, except for the one of the seated Turkish-Cypriot woman, are depicted with an emphasis on their individual traits, unlike those of the women in the middle ground, which are completely undefined. As in all of Kanthos’ paintings, the leading role is held by colour. Through it, the painter built, created volume and perspective and organised the composition. The artful juxtaposition of warm and cool colours, placed upon alternating unified surfaces, energises the composition, imbuing it with a lyrical mood. It is clear that the artist’s intention was not to approach the subject matter descriptively, but to render the atmosphere and the qualitative features of this peaceful activity.