(Reprinted in Ancient Glass Painting, by an Amateur, Oxf. 1848, p. 355.)
In the scheme of stained glass for Truro cathedral there are several apocryphal subjects, including a window in the south-east transept having "Susanna and the Mother of the Seven Martyrs" for its subjects (Donaldson, Bishopric of Truro, 1902, App. V.).
A carved chimney-piece exists in Chillingham Castle, Northumberland, representing Susanna and the Elders (Murray, Handbook to Northumberland, 1873, p. 326).
This scene has been a wonderfully popular one with painters. Altdorfer, Carracci, Correggio, A. Coypel, van Dyck, Guercino, Rembrandt, Rubens, Santerre, Tintoretto, Valentin, and P. Veronese may be named amongst those who have treated it. A picture entitled 'Susanna' was exhibited in the Royal Academy, London, in 1886, by Fred. Goodall, R.A.
Thus we see that the many picturesque incidents in this Addition have not been overlooked by Christian artists in search of subjects for the brush or the chisel. Of these three supplementary sections of Daniel the History of Susanna has, in this respect, been found much the most suggestive; probably as the one which is thought to contain the highest passion and feeling.
"Example Of Life And Instruction Of Manners."
In the character of Susanna we see unconquerable Purity in thought and deed; prayerful Trust in God under a false and cruel accusation,[[57]] and, in the face of death, securing deliverance from an unexpected quarter (cf. v. 60 with II. Cor. i. 10). With v. 55 Hippolytus compares Tob. iii. 2 (Vulgate). The parallels drawn by St. Chrysostom and St. Augustine will be found under 'Early Christian Literature,' p. 167. Susanna's trouble may be taken as a conspicuous illustration of Ps. xxxiv. 19.
[57] There are similar instances in chaps. iii. and vi. of the canonical Daniel. See also the Notes on Scripture, in loco, of Bishop Wilson, of Sodor and Man, who tells what comfort he derived from hearing Susanna read in the daily service when himself falsely accused.
Susanna was conscientious as well as pure; would not lie, being tenderly nurtured morally as well as physically.[[58]] She had the virtue of bodily cleanliness as well as social purity, and affords an early instance of the use of the prepared bath.
[58] Thackeray's mention of Susanna in Tht Newcomes, chap, lvi., seems pointless, though that in chap. xix. is suitable enough. Steele has an absurd reference in the Spectator, No. 14, to the "opera of Susanna, or Innocence Betrayed, which will be exhibited next week, with a pair of new Elders."