In 1837, Belgian sculptor Guillaume Geefs (Antwerp, 1805 – Schaerbeek, 1883) was commissioned to carve the pulpit of Saint Paul\u2019s Cathedral in Li\u00e8ge, with the central theme being the triumph of religion over the \u201cgenius of evil.\u201d This project followed the trend of monumental public sculpture that Guillaume and his family developed to honor political figures of the time, reflecting the nationalist fervor that emerged after Belgium\u2019s independence in 1830. His work blended realistic techniques with the strict discipline of Neoclassicism, while also adopting a heroic and Romantic approach, particularly evident in the depiction of Lucifer.<\/p>\n
From the outset, Lucifer was a key element of the design, which also included representations of Saint Peter, Saint Paul, Saint Hubert of Li\u00e8ge, and Saint Lambert of Maastricht, as depicted in a drawing by Belgian illustrator M\u00e9dard Tygat, published in 1900. The sculpture of Lucifer, carved in white marble and shown seated, was entrusted to Joseph Geefs (Antwerp, 1808 – Brussels, 1885), Guillaume\u2019s brother. Joseph completed the piece in 1842, and it was installed the following year at the base of the staircase behind the pulpit. The sculpture, signed on the right side as \u201cJozef Geefs Anvers,\u201d measures 168.5 x 86 x 65.5 cm.<\/p>\n
Joseph\u2019s depiction of Lucifer, conceived as a sensual young man, drew immediate criticism for failing to embody a Christian ideal. Cathedral authorities deemed the figure too captivating, reportedly distracting young women who attended sermons at the church, as noted in the local press on August 4, 1844. Consequently, Bishop van Bommel ordered the sculpture\u2019s removal, referring to it as \u201cthe angel of evil,\u201d and commissioned Guillaume to create a more demonic version.<\/p>\n
Despite the criticism, Joseph\u2019s work was praised for its refinement and elegance. Beyond symbolic elements like bat wings and a serpent at its feet, the figure resembled an Adonis more than a Lucifer. In fact, it bears a connection to Adonis Hunting with His Dog, another sculpture by Joseph preserved at the Royal Museum of Fine Arts in Brussels, where \u201cthe genius of evil\u201d has also been housed since 1864. Both pieces depict youthful, androgynous, and soft figures, far removed from any notion of ferocity.<\/p>\n
Joseph\u2019s Genius of Evil, described as \u201cone of the most unsettling works of its time,\u201d was admired by Belgium\u2019s upper classes. It even prompted the Grand Duke of Saxe-Weimar-Eisenach to commission a marble replica the same year it was created. For his part, Guillaume completed his own version of the Genius of Evil for Saint Paul\u2019s Cathedral in 1848. This new sculpture, slightly smaller than Joseph\u2019s (165 x 77 x 65 cm), offered a more explicit depiction of the consequences of divine punishment: a downcast face, shackles on the wrist and ankle, and a pose that expressed fear of God. Its anatomy, more robust and masculine, featured monstrous details such as horns, elongated claw-like nails, and disheveled hair.<\/p>\n
Despite the clergy\u2019s demands, Guillaume did not entirely abandon the humanization of his Lucifer, retaining an element of physical allure that evoked the concept of the devil\u2019s beauty. This contrast between the divine and the human solidified both sculptures as iconic works in 19th-century Belgian art.<\/p>\n
All images of our products for sale correspond to the final finish of our sculptures. Know what you are buying since many stores use generic images of the model to display a job and do not use images of the actual finish of the work they do. Our images are 100 x 100 real and our reviews confirm our professionalism and the quality of our work.<\/p>","protected":false},"excerpt":{"rendered":"
In 1837, Belgian sculptor Guillaume Geefs (Antwerp, 1805 – Schaerbeek, 1883) was commissioned to carve the pulpit of Saint Paul\u2019s Cathedral in Li\u00e8ge, with the central theme being the triumph of religion over the \u201cgenius of evil.\u201d This project followed the trend of monumental public sculpture that Guillaume and his family developed to honor political 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