Nicholas: "In the work of Gustave Moreau, going for its conception altogether beyond the meagre facts supplied by the New Testament, Des Esseintes saw realized at last the Salomé, weird and superhuman, he had dreamed of. No longer was she merely the dancing-girl who extorts a cry of lust and concupiscence from an old man by the lascivious contortions of her body; who breaks the will, masters the mind of a King by the spectacle of her quivering bosoms, heaving belly and tossing thighs; she was now revealed in a sense as the symbolic incarnation of world-old Vice, the goddess of immortal Hysteria, the Curse of Beauty supreme above all other beauties by the cataleptic spasm that stirs her flesh and steels her muscles,—a monstrous Beast of the Apocalypse, indifferent, irresponsible, insensible, poisoning, like Helen of Troy of the old Classic fables, all who come near her, all who see her, all who touch her.
"So understood she belonged to the ancient Theologies of the Far East; no longer she drew her origin from Biblical tradition; could not even be likened to the living image of Baylonish Whoredom, or the Scarlet Woman, the Royal Harlot of Revelations, bedecked like her with precious stones and purple, tired and painted like her; for she was not driven by a fateful power, by a supreme, irresistible force, into the alluring perversities of debauch.
"Moreover, the painter seemed to have wished to mark his deliberate purpose to keep outside centuries of history; to give no definite indication of race or country or period; setting as he does Salomé in the midst of this strange Palace, with its confused architecture of a grandiose complexity; clothing her in sumptuous, fantastic robes, crowning her with a diadem of no land or time shaped like a Phoenician tower such as Salammbo wears, putting in her hand the sceptre of Isis, the sacred flower of Egypt and of India, the great lotus-blossom.