[1] As Hippolyte Delehaye writes, "To have lived amongst the Saviour's immediate following was...honorable...and accordingly old patrons of churches were identified with certain persons in the gospels or who were supposed to have had some part of Christ's life on earth.

After converting the local inhabitants to Christianity after they agreed to do so in return for ridding them of the dragon, Clement went into the amphitheater and quickly made the sign of the cross after the snakes attacked him.

[1] The French Renaissance writer François Rabelais described the Graoully's effigy during a procession of the 16th century: It was a monstrous, hideous effigy, terrifying for small children, with eyes bigger than the stomach, and a head bigger than the rest of the body, with horrific, wide jaws and many teeth which were made to clash by the use of a cord, making terrible noises as if the dragon of Saint Clement was actually in Metz.During the 18th century, bakers gave the dragon a small loaf of white bread, while on the last day of Rogation days, children whipped the effigy in the courtyard of the abbey of Saint Arnould, which was the last stage of the procession.

Authors from Metz tend to present the legend of the Graoully as a symbol of Christianity's victory over paganism, represented by the harmful dragon.

Violist and composer Alain Celo, from the National Orchestra of Lorraine, has written a piece for ensemble entitled The Graoully, Messin dragon.

The piece is a musical story with narration depicting the epic fight between Clement and the legendary dragon in the Roman amphitheater.