French painter Moreau approaches the biblical tale of Salomé by the Gate of mystery and offers a sacred “femme fatale” who dances, with some ties with the old Egyptian representation, and faces the Head of St-John. Music compositor Richard Strauss composed the wonderful Salomé, mentioned by the French writers Jack-Alain Léger and François Weyergans as one of the most dangerous melodies. Moreau’s painting goes from seduction to provocation, from the brightness of the jewels till the criminal caprice. It announces the future Art Nouveau, and the schools of symbolists and decadence. The solemnity of the back columns show us that the Palace of the fake world is like a theater: only lies and desires.