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At the same moment, the panels of the gold-railed balcony were folded back, and, accompanied by slaves bearing wax tapers, Herodias appeared, her coiffure crowned with an Assyrian mitre, which was held in place by a band passing under the chin. Her dark hair fell in ringlets over a scarlet peplum with slashed sleeves. On either side of the door through which one stepped into the gallery, stood a huge stone monster, like those of Atrides; and as Herodias appeared between them, she looked like Cybele supported by her lions. In her hands she carried a patera, a shallow vessel of silver used by the Romans in pouring libations; and, advancing to the front of the balcony and pausing just above the tetrarch’s chair, she cried:

“Long live Caesar!”

This homage was repeated by Vitellius, Antipas, and the priests.

But now, beginning at the farthest end of the banqueting-hall, a murmur of surprise and admiration swept through the multitude. A beautiful young girl had just entered the apartment, and stood motionless for an instant, while all eyes were turned upon her.

Through a drapery of filmy blue gauze that veiled her head and throat, her arched eyebrows, tiny ears, and ivory-white skin could be distinguished. A scarf of shot-silk fell from her shoulders, and was caught up at the waist by a girdle of fretted silver. Her full trousers, of black silk, were embroidered in a pattern of silver mandragoras, and as she moved forward with indolent grace, her little feet were seen to be shod with slippers made of the feathers of humming-birds.

When she arrived in front of the pavilion she removed her veil. Behold! she seemed to be Herodias herself, as she had appeared in the days of her blooming youth.

Immediately the damsel began to dance before the tetrarch. Her slender feet took dainty steps to the rhythm of a flute and a pair of Indian bells. Her round white arms seemed ever beckoning and striving to entice to her side some youth who was fleeing from her allurements. She appeared to pursue him, with movements light as a butterfly; her whole mien was like that of an inquisitive Psyche, or a floating spirit that might at any moment dissolve and disappear.

Presently the plaintive notes of the gingras, a small flute of Phoenician origin, replaced the tinkling bells. The attitudes of the dancing nymph now denoted overpowering lassitude. Her bosom heaved with sighs, and her whole being expressed profound languor, although it was not clear whether she sighed for an absent swain or was expiring of love in his embrace. With half-closed eyes and quivering form, she caused mysterious undulations to flow downward over her whole body, like rippling waves, while her face remained impassive and her twinkling feet still moved in their intricate steps.

Vitellius compared her to Mnester, the famous pantomimist. Aulus was overcome with faintness. The tetrarch watched her, lost in a voluptuous reverie, and thought no more of the real Herodias. In fancy he saw her again as she appeared when she had dwelt among the Sadducees. Then the vision faded.

But this beautiful thing before him was no vision. The dancer was Salome, the daughter of Herodias, who for many months her mother had caused to be instructed in dancing, and other arts of pleasing, with the sole idea of bringing her to Machaerus and presenting her to the tetrarch, so that he should fall in love with her fresh young beauty and feminine wiles. The plan had proved successful, it seemed; he was evidently fascinated, and Herodias felt that at last she was sure of retaining her power over him!

And now the graceful dancer appeared transported with the very delirium of love and passion. She danced like the priestesses of India, like the Nubians of the cataracts, or like the Bacchantes of Lydia. She whirled about like a flower blown by the tempest. The jewels in her ears sparkled, her swift movements made the colours of her draperies appear to run into one another. Her arms, her feet, her clothing even, seemed to emit streams of magnetism, that set the spectators’ blood on fire.