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The first allusion to the story of Herod’s banquet, during which John the Baptist was beheaded and his head given to Princess Salome as a reward for the performance of a magnificent dance, is found in the Gospels of Matthew, Mark, and Luke. Over the centuries, the brief story was subject to multiple and varied reworkings, from the first century AD to our days. The story of the young princess Salome began its formation as a literary myth since 1841 with the publication of the work Atta Troll by Heinrich Heine; later it continued its expansion in French literary circles with the unfinished Herodiade by Stephane Mallarme, which became an important source of inspiration for the famous paintings Salome Dancing before Herod (1874-1876) and The Apparition (1876) by Gustav Moreau, in which the rewriting of the old biblical story takes on a new and complex symbolism. This paper focuses specifically on the analysis of the symbolic construction of the theme-character of Salome in representative works of the time, a literary and a pictorial sequence, in which intertextual links can be identified and whose common objective is the construction of a character that, beyond representing the typical image of the fatal woman, becomes an embodiment of art itself.

Salomé, el nacimiento de un ídolo de perversidad: Stéphane Mallarmé y Gustave Moreau