In 1837, Belgian sculptor Guillaume Geefs (Antwerp, 1805 – Schaerbeek, 1883) was commissioned to carve the pulpit of Saint Paul’s Cathedral in Liège, with the central theme being the triumph of religion over the “genius of evil.” 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’s 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.

From the outset, Lucifer was a key element of the design, which also included representations of Saint Peter, Saint Paul, Saint Hubert of Liège, and Saint Lambert of Maastricht, as depicted in a drawing by Belgian illustrator Médard 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’s 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 “Jozef Geefs Anvers,” measures 168.5 x 86 x 65.5 cm.

Joseph’s 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’s removal, referring to it as “the angel of evil,” and commissioned Guillaume to create a more demonic version.

Despite the criticism, Joseph’s 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 “the genius of evil” has also been housed since 1864. Both pieces depict youthful, androgynous, and soft figures, far removed from any notion of ferocity.

Joseph’s Genius of Evil, described as “one of the most unsettling works of its time,” was admired by Belgium’s 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’s Cathedral in 1848. This new sculpture, slightly smaller than Joseph’s (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.

Despite the clergy’s demands, Guillaume did not entirely abandon the humanization of his Lucifer, retaining an element of physical allure that evoked the concept of the devil’s beauty. This contrast between the divine and the human solidified both sculptures as iconic works in 19th-century Belgian art.

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