as proof that the text never existed in Hebrew or Aramaic, but other researchers have suggested pairs of words for trees and cutting that sound similar enough to suppose that they could have been used in an original. The Anchor Bible uses "yew" and "hew" and "clove" and "cleave" to get this effect in English. The Greek text survives in two versions. The received version is due to Theodotion; this has superseded the original Septuagint version, which now survives only in Syriac translation, in Papyrus 967 (3rd century CE), and exceptionally in a single medieval manuscript, known as Codex Chisianus 88. Sextus Julius Africanus did not regard the story as canonical. Jerome (347–420), while translating the Vulgate, treated this section as a non-canonical fable. In his introduction, he indicated that Susanna was an apocryphal addition because it was not present in the Hebrew text of Daniel. Origen received the story as part of the 'divine books' and censured 'wicked presbyters' who did not recognize its authenticity (Hom Lev 1.3.), remarking that the story was commonly read in the early Church (Letter to Africanus); and claimed the two Elders who had accused Susanna were Ahab ben Kolaiah and Zedekiah ben Masseiah, (Jeremiah 21:20); he also noted the story's absence in the Hebrew text, observing (in Epistola ad Africanum) that it was "hidden" by the Jews in some fashion. Origen's claim is reminiscent of Justin Martyr's charge that Jewish scribes 'removed' certain verses from their Scriptures (Dialogue with Trypho: C.71-3). Although omitted from current Jewish scripture, the story of Susanna is acknowledged to have been part of Jewish tradition in the Second Temple period. Depictions in art The story is portrayed on the Lothair Crystal, an engraved rock crystal made in the Lotharingia region of northwest Europe in the mid 9th century, now in the British Museum. The story was frequently painted from about 1470. Susanna is the subject of paintings by many artists, including (but not limited to) Lorenzo Lotto (Susanna and the Elders, 1517), Guido Reni, Rubens, Van Dyck (Susanna and the Elders), Tintoretto, Rembrandt, Tiepolo, and Artemisia Gentileschi (Susanna and the Elders, 1610). Some treatments, especially in the Baroque period, emphasize the drama, others concentrate on the nude; a 19th-century version by Francesco Hayez (National Gallery, London) has no elders visible at all. The Uruguayan painter Juan Manuel Blanes also painted two versions of the story, most notably one