Amid a fertile region green with wood And fresh with rivers, well did[721] it become The ducal Owner, in his palace-home To naturalise this tawny Lion brood; Children of Art, that claim strange brotherhood 5 (Couched in their den) with those that roam at large Over the burning wilderness, and charge The wind with terror while they roar for food. Satiate are _these_; and stilled to eye and ear; Hence, while we gaze,[722] a more enduring fear! 10 Yet is the Prophet calm, nor would the cave Daunt him--if his Companions, now be-drowsed Outstretched[723] and listless, were by hunger roused: Man placed him here, and God, he knows, can save. Henry Crabb Robinson gives an account of this picture in his _Diary, etc._ (vol. ii. pp. 214, 215):-- "On September the 29th, from Lanark I visited the Duke of Hamilton's palace, and had unusual pleasure in the paintings to be seen there. I venture to copy my remarks on the famous Rubens' 'Daniel in the Lions' Den:'--'The variety of character in the lions is admirable. Here is indignation at the unintelligible power which restrains them; there reverence towards the being whom they dare not touch. One of them is consoled by the contemplation of the last skull he has been picking; one is anticipating his next meal; two are debating the subject together. But the Prophet, with a face resembling Curran's (foreshortened so as to lose its best expression), has all the muscles of his countenance strained from extreme terror. He is without joy or hope; and though his doom is postponed, he has no faith in the miracle which is to reward his integrity. It is a painting rather to astonish than delight.'" In a footnote Robinson adds, "Daniel's head is thrown back, and he looks upwards with an earnest expression and clasped hands, as if vehemently supplicating. The picture formerly belonged to King Charles I. It was at that time entered as follows in the Catalogue of the Royal Pictures:--'A piece of Daniel in the Lions' Den with lions about him, given by the deceased Lord Dorchester to the king, being so big as the life. Done by Sir Peter Paul Rubens.' Dr. Waagen very justly observes that, upon the whole, the figure of Daniel is only an accessory employed by the great master to introduce, in the most perfect form, nine figures of lions and lionesses the size of life. Rubens, in a letter to Sir Dudley Carleton (who presented the picture to the king), dated April 28th, 1618, expressly states that it was wholly his own workmanship. The price was six hundred florins. Engraved in mezzotint by W. Ward, 1789." This famous picture, after having been in the possession of the Duke of Hamilton, was sold--in 1882--to Mr. Denison, Yorkshire. The following is from the catalogue of the Hamilton Palace sale:--