This work is another excellent example of Dalí's idea of Nuclear Mysticism, in which he has combined ideas of science and religion. As in several other Dalí masterworks (namely The Ecumenical Council) we are unable to view the face of God here. The elements of the Catholic Eucharist, bread and wine, are present on the table, a direct reference back to Dalí's Catalonian heritage. The wondrous landscape of Dalí's homeland once again dominates the surrounding background, and the whole scene seems to be taking place inside some surreal and ethereal building. Perhaps even more importantly, this work translates Dalí's desire to become Classic in that he is adhering to the rules of Divine Proportion. The theory of the Golden Section, as forwarded by Euclid, created in Dalí a whole new painting style, in which these classical artistic techniques were elevated to modern levels of mastery.
