Le génie du mal (or The Genius of Evil or The Spirit of Evil), known informally in English as Lucifer or The Lucifer of Liège is a religious sculpture executed in white marble and installed in 1848 by the Belgian artist Guillaume Geefs. Francophone art historians often refer to the figure as an ange déchu, a "fallen angel". The sculpture is located in the elaborate pulpit of St. Paul's Cathedral, Liège, and depicts a classically attractive man chained, seated, and nearly nude but for drapery gathered over his thighs, his full length ensconced within a mandorla of bat wings. Geefs' work replaces an earlier sculpture created for the space by his younger brother Joseph Geefs, L'ange du mal, which was removed from the cathedral because of its distracting allure and "unhealthy beauty". Two spirits, one site Le génie du mal is set within an open niche formed at the base of twin ornate staircases carved with gothic floral motifs. The curved railing of the semi-spiral stairs reiterates the arc of the wings, which are retracted and cup the body. The versions by Guillaume and Joseph are strikingly similar at first glance and appear inspired by the same human model. For each, the fallen angel sits on a rock, sheltered by his folded wings; his upper torso, arms, and legs are nude, his center-parted hair nape-length. The veined, membranous wings are articulated like a bat's, with a prominent thumb claw; the knobby, sinewy olecranon combines bat and human anatomy to create an illusion of realism. A broken sceptre and stripped-off crown are held at the right hip. A tear runs from the angel's left eye. The white-marble sculptures occupy approximately the same dimensions, delimited by the space; Guillaume's measures 165 by 77 by 65 cm, or nearly five-and-a-half feet in height, with Joseph's only slightly larger at 168.5 by 86 by 65.5 cm. The commission In 1837, Guillaume Geefs was put in charge of designing the elaborate pulpit for St. Paul's, the theme of which was "the Triumph of Religion over the Genius of Evil". Geefs had come to prominence creating monumental and public sculptures in honor of political figures, expressing and capitalizing on the nationalist spirit that followed Belgian independence in 1830. Techniques of realism coupled with Neoclassical restraint discipline any tendency toward Romantic heroism in these works, but Romanticism was to express itself more strongly in the Lucifer project.