In 1842, the talented sculptor Joseph Geefs embarked on a project that would eventually lead to the creation of the Angel of Evil, the left statue intended for the pulpit of Liège Cathedral. The cathedral authorities sought to adorn their sacred space with a work of art that would convey both aesthetic beauty and a sense of spiritual significance.
Joseph Geefs poured his artistic skill and imagination into crafting the Angel of Evil, imbuing it with intricate details and a unique interpretation that would resonate with visitors. However, upon the statue’s completion, it became evident that its extraordinary allure and what some described as an “unhealthy beauty” were causing unintended distractions among those who came to worship.
As a result of these unexpected reactions, the cathedral made the difficult decision to remove the Angel of Evil from its intended position. Undeterred by this setback, Joseph Geefs’ older brother was subsequently entrusted with the commission to create another statue, the one that now occupies the right side of the pulpit. This second statue aimed to strike a balance between captivating artistry and a more subdued aesthetic, ensuring that it enhanced the spiritual ambiance of the cathedral without causing undue distraction.
The story of the Angel of Evil stands as a testament to the complexities that can arise when art and spirituality intersect, revealing the fine line between captivating beauty and the need for a contemplative worship environment.
