From early times scenes from Susanna were often chosen for artistic treatment. In "a list of the symbols most frequently represented in painting or sculpture by the Church of the first seven centuries" Susanna is included (D.C.A. art. Symbolism).
Frescoes of Susanna and the Elders occur, though not with great frequency, in the Catacombs (D.C.A. I. art. Fresco, 700a). W. Lowrie, in his Christian Art (N.Y. and Lond. 1901, p. 210), mentions a second-century fresco of Susanna and the Elders judged by Daniel, in the cemetery of Callistus; also he says, "in the Capella græca in St. Priscilla the story is depicted with unusual dramatic interest in several scenes." Three old Italian sarcophagi have bas-reliefs of Susanna and the Elders as emblematic of the Church enduring persecution; others are known in southern Gaul (D.C.A. art. Church, Symbols of). A woodcut is given in this article of a sheep (ewe?) between two wild beasts (wolves?), 'Susanna' and 'Senioris' being written over them respectively, the artist evidently fearing that the symbolism might otherwise not be perceived.
Scenes from the history of Susanna carved on sarcophagi are more frequent in France than in Italy. It has been thought that the two Elders may be taken to represent the two older forms of religion, the Pagan and the Jewish (D.C.A., O.T. in Art, II. 1459b). In the same Dict. (Sculpture, II. 1867a) it is noted that the cycle of subjects has a remarkable correspondence with those named in the Roman Breviary "Ordo commendationis animæ," where "Libera, Dom. animam servi tui sicut liberasti Sus. de falso crimine," is one of the petitions.
It is fair to presume that Delitzsch refers to some of the above when he writes, "Susannæ historia in sarcophagis veterum Christianorum cum sacris historiis insculpta conspicitur" (op. cit. 26).
In the Brit. Mus., 2nd North Gallery, Room V., there is a glass fragment of the 4th century, found at Cologne, representing (probably) Susanna amongst other subjects. She also appears on a carved ivory reliquary of Brescia, which is most likely not later in date than 800 (D.C.A. art. Reliquary, II. 1780b).
In the Byzantine Guide to Painting (Ἑρμηνεία τῆς ζωγραφικῆς), given in Didron's Christian Iconography (Bohn's ed., Lond. 1886, I. 45n, II. 284), 'Daniel defends Susanna' is put immediately after the scene in Dan. i. 15, and before the other scenes given out of Daniel (cf. 'Position,' p. 109). Didron's MS. of this work is probably of the 15th century, though the monks of Athos, whence it appears to have come, regarded it as some five centuries older.
There is a window of stained glass, said to be cinque-cento, in the westernmost bay of the south aisle of St. James' Church, Bury St. Edmunds, of which the three lower lights represent the trial of Susanna. In the centre Susanna's bath takes the form of a deep font, in which she is standing. The Elders are clothed in purple.[[56]]
[56] There is a very quaint note in Gwillim's Heraldry (1611, p. 109) as to a mulberry figured on a shield, "This fruit hath a purple blushing colour, in the one resembling the judges' attire who attempted Susanna, in the other that hue of their face which should have been in them, if they had been so gracious to blush at their fault," etc.
In Sumner's Antiquities of Canterbury, 1703, the second figure in the third window of the cathedral is described as "Daniel in medio seniorum," and this inscription is given:
"Mirantur pueri seniores voce doceri
Sic responsa dei sensum stupent Pharasæi."