Lucio d’Ambra, frequent visitor to FAI shootings, as well as a friend of Ugo Falena’s, was present during the shooting of Salomè and affirms that the film was shot outside the Porta del Popolo, «in a large open space enclosed by a wooden fence. […] On a makeshift stage in the open air, in the background of the framed scene, where in an even farther away background disheveled women and half-dressed children crowded into the windows of old homes, in the midst of three or four papier- mâché columns, was an excited crowd of soldiers, male and female slaves, and princes and princesses of Judea, wearing loud, multi-colored costumes». (L. d’Ambra, «Il Tirso», 27/3/1910)

For Film d’Arte, these were the years of shooting en plein air, pending construction of the new studios; the years in which – though not for long – Lepanto was considered the leading actress at FAI. Vittoria Lepanto began working for the Roman production company in 1909 (Carmen, Otello, La signora delle Camelie) and always played leading roles. Slowly though, after the arrival of Bertini, her position as «prima donna» at FAI became threatened.

«Art in Salomè is more than just a word, it is a fact: every aspect indicates it, proclaims it, from the marvelous places and the splendid sets, to the absolutely unparalleled acting. The artists who interpret this scene are indeed the glory of Italy: the beautiful Vittoria Lepanto, whose Company has brought dramaturgical masterpieces all along the Peninsula, the ladies Laura Orette and Francesca Bertini, and our men Ciro Galvani and Achille Vitti, who are no longer in need of praise. (Georges Fagot, «Ciné- Journal», 6/8/1910)