In Walter Lowrie's Christian Art and Archæology (Lond. and New York, 1901, p. 363) is a woodcut of a fragment of gold glass, with Daniel slaying the Dragon. This is correctly described on p. 209, but is wrongly entitled under the figure itself, as 'Daniel slaying Bel.' The picture is said to be taken from Garrucci, Storia dell' Arte, but no further reference is given. On p. 365 of Lowrie's book is a smaller scene of the same in glass, again with an erroneous description on p. xxi. as "Daniel and Bel." No dates are suggested for the above pieces of glass, but they appear to be very ancient.

In the Vatican cemetery a representation of Daniel's destruction of the dragon has been found on a sarcophagus; nor is this a solitary instance. (See O.T. in Art, D.C.A. p. 1459a.) And on the south side of the Angel Choir in Lincoln Minster, among a series of sculptures in the spandrils of the triforium arches, occurs a figure, described by Cockerell, the architect, as that of the "Angel of Daniel," with a monster under his feet, deemed to be "the old Dragon " (Archæol. Institute's Memoirs of Lincoln, Lond. 1850, p. 222).

Habakkuk with the loaves often appears in representations of the lions' den (O.T. in Art, 1459a). In fact there is reason to think that this apocryphal scene was at least as frequently represented as the corresponding canonical one; e.g. on a sarcophagus at Rome figured in the frontispiece to Burgon's Letters from Rome, thought by him to be of about the 5th century (p. 244). There is also a woodcut of this in D.C.A. art. Sculpture, p. 1868. A sarcophagus of the 4th century also, like Burgon's, in the Lateran Museum (though not, it would seem, identical) is mentioned in W. Lowrie's Art and Archæology, p. 260, as carved with the same subject of Daniel and Habakkuk.

In Bohn's edition of Didron's Christian Iconography (Lond. 1886, II. 210) there is a woodcut of a miniature in the Speculum hum. salv. (circ. 1350), in the library of Lord Coleridge, portraying Daniel among the lions. The appearance of Habakkuk guided by the angel in the background, carrying food, identifies the scene with Bel and the Dragon, and not with the history of Dan. vi. Even in representations of this, the canonical den-scene, it is noteworthy how often Daniel is shown in a sitting posture, although all mention of this is confined to v. 40 of the apocryphal story.

It is a little remarkable that Daniel's dramatic disclosure of the priests' trick (v. 21) has not, so far as the writer is aware, commended itself to artists. The ash-strewn floor of Bel's temple, the tell-tale footmarks, and the emotions of exultation and surprise on the face of Daniel and the King respectively, with a possible introduction of the detected impostors at the side, might make, in capable hands, a very effective picture.

"Example Of Life And Instruction Of Manners."

The whole story, in addition to proving the vanity of idols, shews how God watches over the fate of those who bravely discharge his work; while idolaters and persecutors meet with punishment. Religious fraud, deceit under mask of piety, is dealt with very severely. Retribution is not to be escaped. Even J.M. Fuller (S.P.C.K. Comm. Introd.), who regards the story as "essentially apocryphal," admits "an edifying element."[[84]]. This element might perhaps be used with advantage more than it is by missionaries to idolatrous peoples.

[84] It was told as a story to Miss Yonge when a child by her father (Life, 1903, p. 78), and apparently remembered with pleasure through life. So Saml. Johnson: "When I was a boy I have read or heard Bel and the Dragon, Susanna, etc." (Prayers and Meditations, Lond. [1905], p. 78).

The sordidness and trickery of heathen priests[[85]] is contrasted with the uprightness and single-minded devotion of Daniel. His God moreover delivers him, but their gods do not deliver them. The Bel of this history is as dumb as the Baal of I. Kings xviii.; their names and characters quite agree.

[85] So Butler in his Hudibras of the Presbyterian Assembly of Divines: