The cast is of the body of San Gerónimo, the discovery of whose remains in 1853 afforded striking confirmation of an incident recorded by a Spanish Benedictine monk named Haedo in an account of Algiers which he had written nearly two and a half centuries before. According to the priestly chronicler, a young Arab who had been captured by the Spaniards about the middle of the sixteenth century, had embraced Christianity, and had been baptized with the name of Gerónimo, was recaptured in 1569 by Algerine pirates and taken to Algiers. That one of their breed and creed should have become an apostate was an unforgivable offense in Arab eyes. When threats and pleadings failed to move him from his adopted faith, Gerónimo was condemned to death. Bound hand and foot he was thrown alive into a mold in which a block of concrete was about to be made and the liquid concrete poured in upon him. The block containing his body was built into an angle of the Fort of the Twenty-four Hours, then in process of construction. Nearly three centuries later, in 1853 to be exact, the fort was demolished by French military engineers, and in the angle specified by Haedo the block containing the skeleton of Gerónimo was found. Into the mold left by the saint’s body liquid plaster of Paris was run, and a perfect model obtained, showing the agonized features of the youth, the cords which bound him, and even the texture of his single garment. This model is now in the museum. But the block itself, that “noble sepulcher,” as the old chronicler calls it, has found a fitting shrine in the cathedral of St. Philippe, where the bones of the Arab youth who died a Christian martyr and was canonized a saint rest beneath a marble sarcophagus which bears the inscription, “Ossa venerabilis servi Dei Geronimo.”