This is yet another work in which Dalí combines imagery and references to many different facets of his life into a whole. Dalí's Classical fascination with the atomic structure, a return to the influences of the Renaissance, and his religious background all come together in this remarkable work. Dalí's interest in perfect forms led him to idolize the rhinoceros horns which can be seen floating above the figure's left eyebrow. These horns represent Dalí's conviction that the basis of life itself was indeed a spiral. The Madonna face here is depicted in a state of nuclear fragmentation, thus further illustrating Dalí's point. The crown of the head seems to be made up of a vaulted ceiling, certainly a reference to Dalí's love of all things classical, and perhaps to the ruins of Ampurius near his childhood home.
