Romero de Torres started to work on the painting in 1922, owing to National Contest of «Cante Hondo» in Granada. The work was finished in 1924. It gathers together all the key concepts of the painter’s artwork, highlighting his mastery of the Symbolism.

This balanced composition includes examples of the popular Andalusian lyric, a poetry created by the passing of centuries and the different civilizations.

The main figure of this work is the woman and symbol of fatality. Around her there are all of the feelings and passions of the Mankind: love, jealousy and death. The mantilla provides the figure with an erotic appearance, playing with the ambiguity between the sacred and profane dimension. She is holding a guitar which serves as an axis of symmetry. Meanwhile, she rises over a pedestal of Córdoba silver with baroque angels. A scene takes place at her feet: the crazy lover stabs to death the woman that he loves. At the right side a couple of lovers are kissing and behind them there is a young woman lying in a coffin while her children cry close to the casket and her greyhound, Pacheco, howls in pain. This last scene seems to foresee the death of the painter. All these scenes take place independently, like sections of an altarpiece, but all together transmit a feeling of harmony. In the background, there is an imaginary and miniaturist landscape under a stormy sky.

The popular poetry of the Cante Hondo, (Deep Song) has no gypsy nor flamenco origins, it is an Andalusian folk music. This music is combination of Arabic songs influenced by several Mediterranean civilizations.