The superimposed motifs were added to this canvas in 1890, after the death of Alexandrine Dureux.

Unlike in The Apparition, John the Baptist is absent here; it's Salome who takes the center stage.

Herod is in the background on a throne and with the executioner of Saint John the Baptist nearby.

An entire decor is superimposed on the canvas, giving the appearance of a tattoo.

This technique allows Moreau to have total freedom in the application of colors, which he develops in large areas before covering them with this ornamental net all in lines.