The tomb of Lazarus occupied a position in the apse, behind the great altar. According to the evidence of an eye-witness, it was a monument of unusual magnificence, built in the form of a church, constructed of porphyry, and black and white marble. Its sculpture comprised a recumbent figure of Lazarus, in his winding-sheet, with Christ's word, written below it, "Lazare veni foras (Lazarus, come forth)." Among other figures were those of Christ, Saint Peter, Saint Paul, and, before the head of Lazarus, two statues in stone representing Martha and Mary, one of them lifting to her nose a handkerchief, recalling the "jam foetet" (by this time he stinketh) of the Gospel story. This priceless monument, interesting to all, doubly interesting to those who believe that it did, indeed, house the relics of the friend of Christ, was destroyed during the course of improvements carried out in the choir of the cathedral during the 18th century; but three of the figures--those of St. Andrew, Martha and Mary, are still preserved in the little Musée Lapidaire of Autun, of which collection they are the gems. A glance at them reveals the fact that, even at this early epoch, the art of sculpture was well developed in Autun. The rapt expression of the countenances, the graceful lines of the draperies, the comparative delicacy of the execution, without sacrifice of strength, recall something of the Græco-Roman tradition, that probably had never perished wholly from the Roman city. That these figures, the work of one Martin, were the result of no mere sporadic outbreak of genius is proved, I think, by the rapport they bear with the work of Geraldus, which, when seen in the apse of the Musée, they instantly recall.