the thighs, concealing the hips, not quite covering the navel. At the same time, the flesh that remains exposed is resolutely modeled, particularly in the upper arms, pectorals, and calves, to reveal a more defined, muscled masculinity. The uplifted right arm allows the artist to explore the patterned tensions of the serratus anterior muscles, and the gesture and the angle of the head suggest that the génie is warding off "divine chastisement". Symbols of Lucifer Guillaume added several details to enhance the Luciferian iconography and the theme of punishment: at the angel's feet, the dropped "forbidden fruit", an apple with bite marks, along with the broken-off tip of the sceptre, the stellar finial of which marks Lucifer as the Morning Star of classical tradition. The nails are narrow and elongated, like talons. A pair of horns may be intended to further dehumanize the figure, while introducing another note of ambiguity. Horns are animalistic markers of the satanic or demonic, but in a parallel tradition of religious iconography, "horns" represent points of light. Gods from antiquity who personify celestial phenomena such as the Sun or stars are crowned with rays, and some depictions of Moses, the most famous being that of Michelangelo, are carved with "horns" similar to those of Geefs' Lucifer; see Horned Moses. Promethean Lucifer But the most apparent departure from L'ange du mal is the placing of Lucifer in bondage, with his right ankle and left wrist chained. In 19th-century reinterpretations of ancient Greek and Christian myths, Lucifer was often cast as a Promethean figure, drawing on a tradition that the fallen angel was chained in Hell just as the Titan had been chained and tortured on the rock by Zeus: "The same Prometheus who is taken as an analogue of the crucified Christ is regarded also as a type of Lucifer," wrote Harold Bloom in remarks on Mary Shelley's 19th-century classic Frankenstein, subtitled The Modern Prometheus. In A.H. Krappe's folkloric typology, Lucifer conforms to a type that includes Prometheus and the Germanic Loki. Guillaume Geefs' addition of fetters, with the swagged chain replacing the sneering serpent in Joseph's version, displays the angel's defeat in pious adherence to Christian ideology. At the same time, the titanic struggle of the tortured genius to free himself from metaphorical chains was a motif of Romanticism, which took hold in Belgium in the wake of the Revolution of 1830. The Belgians had