"Among all the artists he considered, there was one who sent him into raptures of delight, and that was Gustave Moreau. He had bought Moreau's two masterpieces, and night after night he would stand dreaming in front of one of them, the picture of Salome.
This painting showed a throne like the high altar of a cathedral standing beneath a vaulted ceiling -- a ceiling crossed by countless arches springing from thick-set, almost Romanesque columns, encased in polychromic brickwork, encrusted with mosaics, set with lapis lazuli and sardonyx -- in a palace which resembled a basilica built in both the Moslem and the Byzantine styles.
In the center of the tabernacle set on the altar, which was approached by a flight of recessed steps in the shape of a semi-circle, the Tetrarch Herod was seated, with a tiara on his head, his legs close together and his hands on his knees.
Round about this immobile, statuesque figure, frozen like some Hindu god in a hieratic pose, incense was burning, sending up clouds of vapour, through which the fiery gems set in the sides of the throne gleamed like the phosphorescent eyes of wild animals."
"The character of Salome, a figure with a haunting fascination for artists and poets, had been an obsession with him for years. Time and again he had opened the old Bible of Pierre Variquet, translated by the Doctors of Theology of the University of Louvain, and read the Gospel of St. Matthew which recounts in brief, naive phrases the beheading of the Precursor; time and again he had mused over these lines:
"But when Herod's birthday was kept, the daughter of Herodias danced before them, and pleased Herod.
Whereupon, he promised with an oath to give her whatsoever she would ask.
And she, being before instructed of her mother, said, 'Give me here John Baptist's head in a charger.'
And here the king was sorry: nevertheless, for the oath's sake, and them which sat with him at meat, he commanded it to be given her.
And he sent, and beheaded John in the prison.
And his head was brought in a charger, and given to the damsel: and she brought it to her mother."
But neither St. Matthew, nor St. Mark, nor St. Luke, nor any of the other sacred writers had enlarged on the maddening charm and potent depravity of the dancer. She had always remained a dim and distant figure, lost in a mysterious ecstasy far off in the mists of time, beyond the reach of punctilious pedestrian minds, and accessible only to brains shaken and sharpened and rendered almost clairvoyant by neurosis; she had always repelled the artistic advances of fleshly painters, such as Rubens who travestied her as a Flemish butcher's wife; she had always passed the comprehension of the writing fraternity, who never succeeded in rendering the disquieting delirium of the dancer, the subtle grandeur of the murderess.
In Gustave Moreau's work, which in conception went far beyond the data supplied by the New Testament, Des Essentes saw realized at long last the weird and superhuman Salome of his dreams. Here she was no longer just the dancing-girl who extorts a cry of lust and lechery from an old man by the lascivious movements of her loins; who saps the morale and breaks the will of a king with the heaving of her breasts, the twitching of her belly, the quivering of her thighs. She had become, as it were, the symbolic incarnation of undying Lust, the Goddess of immortal Hysteria, the accursed Beauty exalted above all other beauties by the catalepsy that hardens her flesh and steels her muscles, the monstrous Beast, indifferent irresponsible, insensible, poisoning, like the Helen of ancient myth, everything that approaches her, everything that sees her, everything that she touches.
Viewed in this light, she belonged to the theogonies of the Far East; she no longer had her origin in Biblical tradition; she could not even be likened to the living image of Babylon, the royal harlot of Revelations, bedecked like herself with precious stones and purple robes, with paint and perfume, for the whore of Babylon was not thrust by a fateful power, by an irresistible force, into the alluring iniquities of debauch.
Moreover, the painter seemed to have wished to assert his intention of remaining outside the bounds of time, of giving no precise indication of race or country or period, setting as he did his Salome inside this extraordinary palace with its grandiose, heterogeneous architecture, clothing her in sumptuous fanciful robes, crowning her with a nondescript diadem like Salammbo's, int eh shape of Phoenician tower, and finally putting in her hand the sceptre of Isis, the sacred flower of both Egypt and India, the great lotus-blossom.
Des Esseintes puzzled his brains to find the meaning of this emblem. Had it the phallic significance which the primordial religions of India attributed to it? Did it suggest to the old Tetrarch a sacrifice of virginity, an exchange of blood, an impure embrace asked for and offered on the express condition of a murder? Or did it represent the allegory of fertility, the Hindi myth of life, an existence held between the fingers of woman and clumsily snatched away by the fumbling hands of man, who is maddened by desire, crazed by a fever of flesh?
Perhaps, too, in arming his enigmatic goddess with the revered lotus-blossom, the painter had been thinking of the dancer, the mortal woman, the soiled vessel, ultimate cause of every sin and every crime; perhaps he had remembered the sepulchral rites of ancient Egypt, the solemn ceremonies of embalmment, when practitioners and priests lay out the dead woman's body on a slab of jasper, then with curved needles extract her brains through the nostrils, her entrails through an opening made in the left side, and finally, before gilding her nails and her teeth, before anointing the corpse with oils and spices."