{{Sculpture
| image = [[Image:Lucifer Liege Luc Viatour new.jpg|250px]]
| title = Le génie du mal
| artist = [[Guillaume Geefs]]
| year = 1848
| type = [[marble|white marble]]
| city = [[Liège (city)|Liège]]
| museum = [[St. Paul's Cathedral (Liège)|St. Paul's Cathedral]]
}}

'''''Le génie du mal''''' (installed 1848) or ''The [[Genius#Philosophy|Genius]] of Evil'', known informally in English as '''''[[Lucifer]]''''' or '''''The Lucifer of Liège''''',<ref>"Le génie du mal" could also be translated as ''Evil Genius'' or even ''Evil Spirit''. French ''génie'' in this sense can overlap in meaning with its English [[Cognate (etymology)#Cognates across languages|cognate]] "[[Genie#Etymology and definitions|genie]]." The [[:fr:Accueil|French Wikipédia]] article on [[:fr:Génie du mal|Génie du mal]] deals with the stock character of the "evil genius" in fiction, film, and popular culture. Geefs may have had in mind the [[Genius#Philosophy|Kantian conception of genius]], which influenced [[Romanticism]] in the 19th century.</ref> is a religious sculpture executed in white marble by the [[Belgium|Belgian]] artist [[Guillaume Geefs]]. [[Francophone]] [[art historian]]s most often refer to the figure as an ''ange déchu'', a "[[fallen angel]]." It is located within the elaborate [[pulpit]] (French ''chaire de vérité'', "seat of truth") of [[St. Paul's Cathedral (Liège)|St. Paul's Cathedral]], [[Liège (city)|Liège]], and depicts a [[Classicism|classically]] [[Physical attractiveness|beautiful]] man in his physical prime, chained, seated, and nearly [[Depictions of nudity|nude]] but for drapery gathered over his thighs, his full length ensconced within a [[mandorla]] of [[Bat (animal)|bat]] wings. Geefs' work replaces an earlier sculpture created for the space by his younger brother [[Joseph Geefs]], which was removed from the [[cathedral]] because of its distracting allure and "unhealthy beauty."<ref>In French, ''beauté malsaine'': [[Royal Museums of Fine Arts of Belgium]], ''Le génie du mal'' by Joseph Geefs, Fabritius online catalogue [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=85&WebPageNr=1&SearchTerm1=GEEFSJOSEPH%20.2.3570&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=5 description.]</ref>

In the late 1980s, a photograph of ''Le génie du mal'' became a focal point of ''[[Le génie du mal#Himmelsweg|Himmelsweg]]'', an [[Installation art|art installation]] by the Liège-born artist [[:fr:Jacques Charlier|Jacques Charlier]] on the theme of seductive evil and the danger of obscuring the memory of [[the Holocaust]].

==Two spirits, one site==
[[File:Guillaume Geefs portrait.jpg|thumb|75px|left|'''[[Guillaume Geefs]]''']]
''Le génie du mal'' is set within an open [[Niche (architecture)|niche]] formed at the base of twin ornate staircases carved with [[Gothic architecture|gothic]] floral [[Motif (visual arts)|motifs]].<ref>The sculpture may be viewed in its architectural setting [http://www.wittert.ulg.ac.be/expo/19e/album/img/musees/geefs_genie_x.jpg online], and at an angle showing the [[stained glass]] windows [http://veroniqueliege.skynetblogs.be/tag/1/LIEGE-SENSUEL also online.] The view with stained glass windows is preserved also at the [[WebCite]] [http://www.webcitation.org/5gOjipWe8 archive.]</ref> The curved railing of the [[stairway#Spiral_and_helical_stairs|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 [[Model (art)|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 (visual arts)|realism]].<ref>Soo Yang Geuzaine et Alexia Creusen, "Guillaume Geefs: ''Le Génie du Mal'' (1848) à la cathédrale Saint-Paul de Liège," ''Vers la modernité. Le XIXe siècle au Pays de Liège'', [http://www.wittert.ulg.ac.be/expo/19e/album/165_geefs_genie.html online catalogue] of an exhibition presented by the University of Liège from 5 October 2001 to 20 January 2002.</ref> A broken [[sceptre]] and stripped-off [[Crown (headgear)|crown]] are held at the right [[Hip#Cultural significance of hips|hip]]. The white-[[marble sculpture]]s occupy approximately the same [[dimension]]s, 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.<ref>Michael Palmer ''et al.'', ''500 chefs-d'oeuvre de l'art belge du XVe siècle à nos jours'' (Éditions Racine, n.d.), p. 203 [http://books.google.com/books?id=eIhHTre5wYoC&pg=PT206&dq=%22Le+génie+du+Mal%22+intitle:500+intitle:chefs&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.]</ref>
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==The commission==
[[File:Pulpit St. Paul's Liège (Geefs).jpg|thumb|right|200px|Pulpit of St. Paul's Cathedral, Liège, in a 1900 illustration by [[Médard Tytgat]]; ''Le génie du mal'' is on the unseen side]]
[[File:Chaire Cathédrale Liège 240809 01.jpg|thumb|right|200px|The pulpit in a 2009 photograph]]
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 [[monument]]al and [[public art|public sculptures]] in honor of political figures, expressing and capitalizing on the [[Nationalism|nationalist]] spirit that followed [[Belgian Revolution|Belgian independence in 1830]]. Techniques of [[Realism (arts)|realism]] coupled with [[Neoclassicism|Neoclassical]] restraint discipline any tendency toward [[Romanticism|Romantic heroism]] in these works, but Romanticism was to express itself more strongly in the Lucifer project.<ref>Geuzaine and Creusen, ''Vers la modernité''; [[Royal Museums of Fine Arts of Belgium]], 19th-century sculpture collection [http://www.fine-arts-museum.be/site/fr/frames/F_sculpture.html online introduction.]</ref>

From the outset, sculpture was an integral part of Geefs' pulpit design, which featured representations of the saints [[Saint Peter|Peter]], [[Saint Paul|Paul]], [[Hubertus|Hubert]] the first [[Prince-Bishopric of Liège|Bishop of Liège]], and [[Lambert of Maastricht]]. A drawing of the pulpit by the Belgian illustrator [[Médard Tytgat]], published in 1900, shows the front; ''Le génie du mal'' would be located at the base of the stairs on the opposite side, but the book in which the illustration appears omits mention of the work.<ref>Illustration by [[Médard Tytgat]] in Eloi Bartholeyns, ''Guillaume Geefs: sa vie et ses œuvres'' (Brussels: Schaerbeek, 1900), pp. 105 and 112.</ref>

The statue was originally a commission for Geefs' younger brother Joseph, who completed it in 1842 and installed it the following year. It generated controversy at once and was criticized for not representing a [[Christianity|Christian]] ideal.<ref>''Ne rendant pas l’idée chrétienne'': quoted by Vicky Chris, [http://es.treklens.com/gallery/Europe/Belgium/photo425244.htm TrekLens.]</ref> The cathedral administration declared that "this devil is too sublime."<ref>"Ce diable-là est trop sublime": originally quoted in ''L'Émancipation'', 4 August 1844, as cited by [[Jacques Van Lennep]], ''La Sculpture belge au xixe siècle, exposition organisée à Bruxelles du 5 octobre au 15 décembre 1990, La Générale de banque, Bruxelles'' (Exhibition catalogue, 1990); Geuzaine and Creusen, ''Vers la modernité''.</ref> The local press intimated that the work was distracting the "pretty penitent girls" who should have been listening to the sermons.<ref>Edmond Marchal, "Étude sur la vie et les œuvres de Joseph-Charles Geefs," ''Annuaire de l'Académie Royale des sciences, des lettres et des beaux-arts de Belgique'' (Brussels, 1888), p. 316.</ref>

[[Cornelius Richard Anton van Bommel|Bishop van Bommel]] soon ordered the removal of ''L'ange du mal'', and the building committee passed the commission for the pulpit sculpture to Guillaume Geefs, whose version was installed at the cathedral permanently in 1848.<ref>Royal Museums of Fine Arts of Belgium, Fabritius [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=85&WebPageNr=1&SearchTerm1=GEEFSJOSEPH%20.2.3570&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=5 catalogue], from Francisca Vandepitte, ''Le Romantisme en Belgique. Entre réalités, rêves et souvenirs (exposition): Bruxelles, Musées royaux des Beaux-Arts de Belgique; Espace Culturel ING; Musée Antoine Wiertz, 18.03–31.07.2005'' (Brussels, 2005), p. 109.</ref>

Joseph exhibited his sculpture at [[Antwerp]] in 1843, along with four other works: a sculpture group called ''The Dream'', and the individual statues ''St. [[Philomena]]'', ''Faithful Love'', and ''The Fisherman's Orphan''.<ref>Marchal, ''Annuaire'' p. 315.</ref> Known both as ''L'ange du mal'' (''Angel of Evil'') and ''Le génie du mal'', the controversial piece was later received into the collections of the [[Royal Museums of Fine Arts of Belgium]], where it has remained as of 2009.<ref>Joseph's work is often referred to as ''L'ange du mal'', but its formal title according to the Royal Museums' online 19th-century sculpture [http://www.fine-arts-museum.be/site/fr/frames/F_sculpture.html catalogue] remains ''Le génie du mal''. The common title ''L'ange du mal'' is used in this article to distinguish Joseph's sculpture from that of Guillaume.</ref>

Despite or because of the controversy, Joseph's work was admired at the highest levels of society. [[Charles Frederick, Grand Duke of Saxe-Weimar-Eisenach|Charles Frederick]], [[Grand duchy|Grand Duke]] of [[Saxe-Weimar-Eisenach|Saxe-Weimar]], ordered a marble replica as early as 1842.<ref>As of 2009, this copy remains in the collections of the [[Goethe]] [[Goethe National Museum|National Museum]], [[Weimar]].</ref> The deracinated original was purchased for 3,000 [[Dutch guilder|florins]] by [[William II of the Netherlands|William II, King of the Netherlands]], and was dispersed with the rest of his collection in 1850 following his death. In 1854, the artist sold a [[plaster cast]] of the statue to [[Bernhard von Lindenau|Baron Bernard August von Lindenau]],<ref>Royal Museums, Fabritius description; Edmond Marchal, ''La sculpture et les chefs-d'œuvre de l'orfèvrerie belges'' (Brussels, 1895), p. 684 [http://books.google.com/books?id=fCkEAAAAYAAJ&pg=PA684&dq=%22Le+génie+du+Mal%22+inauthor:Marchal&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online]; Michael Palmer ''et al.'', ''500 chefs-d'oeuvre de l'art belge du XVe siècle à nos jours'' (Éditions Racine, n.d.), p. 203 [http://books.google.com/books?id=eIhHTre5wYoC&pg=PT206&dq=%22Le+génie+du+Mal%22+intitle:500+intitle:chefs&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.]</ref> the German statesman, astronomer, and art collector for whom the [[Lindenau-Museum Altenburg]] is named.<ref>[http://www.lindenau-museum.de/museum/index.html Das Lindenau-Museum Altenburg.]</ref> The success of the work elevated Joseph Geefs to the top tier of sculptors in his day.<ref>"Une légtimate admiration accueillit cette œuvre. Le plus grand succès répondit à l'attente de l'artiste et plaça celui-ci au premier rang des statuaires de ce temps": Marchal, ''Annuaire'' p. 315.</ref>

''L'ange du mal'' is among six statues featured in a painting by [[Pierre Langlet]], ''The Sculpture Hall of the Brussels Museum'' (''Salle de sculpture du Musée de Bruxelles'', 1882), along with ''Love and Malice'' by another of the six Geefs sculptor-brothers, Jean.<ref>Françoise Roberts-Jones-Popelier, ''Chronique d'un musée: Musées royaux des Beaux-Arts, Bruxelles'' (Pierre Mardaga, 1987), p. 31 [http://books.google.com/books?id=fXjRc4yYNukC&pg=PA31&lpg=PA31&dq=Geefs+%22l'ange+du+mal%22&source=bl&ots=BIcV1lrjSm&sig=aAPWtgr24fiqCliOw-0QG7U5Cgc&hl=en&ei=UTL6Sb_GB5LQMu643NQE&sa=X&oi=book_result&ct=result&resnum=5#PPA31,M1 online], with the painting reproduced on p. 32. ''Love and Malice'' by Jean Geefs may be viewed [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=81&WebPageNr=1&SearchTerm1=GEEFSJEAN%20.2.3418&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=1 online.]</ref>

''L'ange du mal'' was not uniformly admired even as a work of art. When it appeared in an 1862 international exhibition, the reviewer criticized Geefs' work as "gentle and languid" and lacking in "muscle", "a devil sick... : the sting of Satan is taken out."<ref>J. Beavington Atkinson, "Modern Sculpture of All Nations in the Exhibition," ''The Art Journal Illustrated Catalogue of the International Exhibition 1862'' p. 318.</ref>

=='This devil is too sublime'==
[[File:L'ange du mal (Joseph Geefs) cropped.jpg|thumb|left|175px|'''''L'ange du mal''''' (1842) by Joseph Geefs]]
[[File:Joseph Geefs.jpg|thumb|125px|'''Joseph Geefs''']]

Other than the [[Vesper bat|vespertilionid]] wings, the fallen angel of Joseph Geefs<ref>In Dutch and German sources, the artist's name may appear as Jozef Geefs.</ref> takes a completely human form, made manifest by its [[Depictions of nudity|artistic near-nudity]]. A languid scarf skims the groin, the hips are bared, and the open thighs form an avenue that leads to shadow.<ref>For better angles on the compositional treatment of the drapery in relation to the groin, see [http://books.google.com/books?id=eIhHTre5wYoC&pg=PT206&lpg=PT206&dq=%22du+mal%22+%22joseph+geefs%22&source=bl&ots=YP_hYHDnT5&sig=zypV76xNNkiABUufYUcfUC7kIpU&hl=en&ei=dOT1Sd6XI4ieMo_jgK4P&sa=X&oi=book_result&ct=result&resnum=21 ''500 chefs''] and [http://farm3.static.flickr.com/2296/2455381558_4b740d4475.jpg?v=0 detail.] More information available on the photo [http://www.flickr.com/photos/pikimota/2455381558 detail.]</ref> The serpentine curve of waist and hip is given compositional play in relation to the wing-arcs. The torso is fit but youthful; smooth and graceful, almost [[androgynous]]. The angel's expression has been described as "serious, somber, even fierce,"<ref>''500 chefs-d'oeuvre de l'art belge'' p. 203. The angel's facial expression may not be apparent in the photograph that illustrates this article; view [http://books.google.com/books?id=eIhHTre5wYoC&pg=PT206&lpg=PT206&dq=%22du+mal%22+%22joseph+geefs%22&source=bl&ots=YP_hYHDnT5&sig=zypV76xNNkiABUufYUcfUC7kIpU&hl=en&ei=dOT1Sd6XI4ieMo_jgK4P&sa=X&oi=book_result&ct=result&resnum=21 another angle.]</ref> and the cast-down gaze directs the viewer's eye along the body and thighs to the parted knees. The most obvious satanic element in addition to the wings is the [[Serpent (symbolism)|snake]] uncoiling across the base of the rock. ''L'ange du mal'' has been called "one of the most disturbing works of its time."<ref>Royal Museums of Fine Arts of Belgium, 19th-century sculpture collection [http://www.fine-arts-museum.be/site/EN/frames/F_sculpture.html online introduction.]</ref>

Joseph's sculptures are "striking for their perfect finish and grace, their elegant and even poetic line," but while exhibiting these qualities in abundance, ''L'ange du mal'' is exceptional within the artist's body of work for its subject matter:<ref>''500 chefs-d'oeuvre de l'art belge'' p. 203.</ref>

{{cquote|It compellingly illustrates the Romantic era's attraction to darkness and the abyss, and the rehabilitation of the rebellious fallen angel. The [[bat (animal)|chiropteral]] wings, far from inspiring revulsion, form a frame that enhances the beauty of a youthful body.<ref>"Elle illustre en effet l’attrait de l’époque romantique pour les ténèbres, l’abîme, et sa réhabilitation de l’ange rebelle déchu. Les ailes de chéiroptère loin d’inspirer la révulsion, forme un écrin mettant en valeur la beauté d’ un corps juvénile": Vicky Chris, [http://es.treklens.com/gallery/Europe/Belgium/photo425244.htm TrekLens], with a side view of the photo showing the exposure of the hip.</ref>}}

As a sort of "winged [[Adonis]],"<ref>Royal Museums of Fine Arts, Fabritius [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=85&WebPageNr=1&SearchTerm1=GEEFSJOSEPH%20.2.3570&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=5 ''Le génie du mal''.]</ref> the fallen angel can be seen as developing from Geefs' early nude ''Adonis allant à la chasse avec son chien'' (''Adonis Goes Hunting with His Hound'').<ref>Royal Museums of Fine Arts, Fabritius [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=83&WebPageNr=1&SearchTerm1=GEEFSJOSEPH%20.2.3567&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=3 ''Adonis allant à la chasse''.]</ref> The composition of ''L'ange du mal'' has been compared to that of [[Jean-Jacques Feuchère]]'s small bronze ''Satan'' (1833), with Geefs' angel notably "less diabolic."<ref>Didier Rykner, review of the exhibition "Le romantisme en Belgique. Entre réalités, rêves et souvenirs," 18 March–31 July 2005 at the Musées Royaux des Beaux-Arts, Bruxelles, and Espace Culturel ING, ''La Tribune de l'Art'', 13 April 2005 [http://www.latribunedelart.com/Expositions_2005/Romantisme_Belgique_234.htm online.] Feuchère's ''Satan'' exists in multiple copies. The 1833 original of ''Satan'' held by the [[Louvre]] is not on public display, but may be viewed [http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=2349 online.] As of 30 April 2009, an 1836 version was on public display at the [[Los Angeles County Museum of Art]]; it may be viewed among the museum's [http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=33014;type=101 online collections.] For the version at the Royal Museum in Brussels, search Feuchère in the museum's [http://www.opac-fabritius.be/fr/F_database.htm database.]</ref> The humanizing of Lucifer through nudity is characteristic also of the Italian sculptor [[Costantino Corti]]'s colossal work, executed a few years after the Geefs' versions. Corti depicts his Lucifer as frontally nude, though shielded discreetly by the pinnacle of rock he straddles, and framed with the feathered wings of his angel origin.<ref>See article on [[Costantino Corti]] for an engraving of ''Lucifer''.</ref>
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==Chained genius==
[[File:Lucifer of Liège (foot detail) by Viatour.jpg|thumb|150px|left|Detail of '''''Le génie du mal''''': chained ankle, tasted apple, broken sceptre ''(from photo by Luc Viatour)'']]

Without a statement from the artist, it can only be surmised that Guillaume Geefs sought to address specific criticisms leveled at his brother Joseph's work. Guillaume's ''génie'' shows less flesh, and is marked more strongly by satanic [[iconography]] as neither human nor angelic. Whether Guillaume succeeded in removing the "seductive" elements may be a matter of individual perception; at any rate, his version is featured on the website "Liège sensuel," a small online exhibition of nude sculptures and paintings from Liège selected for their sensual qualities.<ref>"Ce diable est trop sublime"; [http://veroniqueliege.skynetblogs.be/tag/1/LIEGE-SENSUEL Liège sensuel.]</ref>

[[File:Lucifer of Liège (horns detail) Viatour.jpg|thumb|Horns, and a collocation of human and animal anatomy (detail)]]
[[File:Horned Moses (detail).jpg|thumb|[[Moses#Figurative art|Horned Moses]]]]Guillaume shifts the direction of the fallen angel's gaze so that it leads away from the body, and his Lucifer's knees are drawn together protectively. The drapery hangs from behind the right shoulder, pools on the right side, and undulates thickly over 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 muscle]]s, and the gesture and the angle of the head suggest that the ''génie'' is warding off "divine chastisement."<ref>Geuzaine and Creusen, ''Vers la modernité''.</ref>

===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 (symbolism)|apple]] with bite marks, along with the broken-off tip of the sceptre, the stellar [[finial]] of which marks [[Lucifer#Latin name for the Morning Star|Lucifer as the Morning Star of classical tradition]]. The [[Nail (anatomy)|nails]] are narrow and elongated, like talons.<ref>Geuzaine and Creusen, ''Vers la modernité''.</ref>

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 [[Moses#Figurative art|Horned Moses]].

===Promethean Lucifer===
[[File:Prometheus Bound (Paul Bouré).jpg|thumb|left|230px|A bronze ''Prometheus Bound'' (1845) by Belgian artist [[Paul Bouré]], who once studied with Guillaume Geefs]]
But the most apparent departure from ''L'ange du mal'' is the placing of Lucifer in [[bondage (disambiguation)|bondage]], with his right ankle and left wrist chained. In 19th-century reinterpretations of [[Greek mythology|ancient Greek]] and [[Christian mythology|Christian myths]], Lucifer was often cast as a [[Prometheus|Promethean]] figure, drawing on a tradition that the fallen angel was chained in [[Hell]] just as the [[Titan (mythology)|Titan]] had been chained and [[Torture#Torture in the past|tortured]] on the rock by [[Zeus]]: "The same [[Prometheus]] who is taken as an [[Analogue (literature)|analogue]] of the [[Crucifixion of Jesus|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''.<ref>[[Harold Bloom]], 1965 afterword republished in the Signet Classic 2000 edition of [[Mary Shelley]]'s ''[[Frankenstein]]'', p. 201 [http://books.google.com/books?id=gBJbpHyFf7MC&pg=PA201&dq=%22The+same+Prometheus+who+is+taken+as+an+analogue+of+the+crucified+Christ+is+regarded+also+as+a+type+of+Lucifer%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.] The literature on the connection between Lucifer and Prometheus made in 19th-century art and literature is vast. See, for instance, discussion of [[Goethe]] and the [[Gnostic]] Lucifer in Steven M. Wasserstrom, ''Religion after Religion: Gershom Scholem, Mircea Eliade, and Henry Corbin at Eranos'' (Princeton University Press, 1999), p. 210ff. [http://books.google.com/books?id=RvuHVggCA-IC&pg=PA210&dq=%22Prometheus,+Corbin+tells+us,+was+also+the+archetype+for+the+Man+of+Light,+the+gnostic+Lucifer%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.] Discussion of Lucifer in [[August Strindberg|Strindberg]]'s ''Coram Populo'' in Harry Gilbert Carlson, ''Out of Inferno: Strindberg's Reawakening as an Artist'' (University of Washington Press, 1996), pp. 103–106 [http://books.google.com/books?id=k8KZpjTVuJQC&pg=PA103&dq=%22coram+populo+medieval+pastiche%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.] The association of Lucifer with [[Prometheus]] and other mythological figures such as [[Loki]] was a particular feature of 19th-century [[theosophy]] and the esoteric writings of [[Madame Blavatsky|H.P. Blavatsky]]; see ''The Secret Doctrine'' (London, 1893), vol. 2, p. 296 [http://books.google.com/books?id=zCcVAAAAYAAJ&pg=PA296&dq=%22Hence+Loki+is+identical+with+Lucifer%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=1&as_pt=ALLTYPES online.] The Promethean qualities of Lucifer are a standard theme in [[John Milton|Milton]] studies; see ''[[Lucifer and Prometheus]]'' for a perspective on ''[[Paradise Lost]]''.</ref> In [[Alexander Haggerty Krappe|A.H. Krappe]]'s [[folklore|folkloric]] typology, Lucifer conforms to a type that includes Prometheus and the Germanic [[Loki]].<ref>Lois Bragg, ''Oedipus Borealis: The Aberrant Body in Old Icelandic Myth and Saga'' (Fairleigh Dickinson University Press, 2004), pp. 132–133, particularly point 7 [http://books.google.com/books?id=8GLeJQbNmCAC&pg=PA132&dq=%22By+comparing+European+and+Christian+mythologies%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.]</ref>

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 [[metaphor]]ical chains was a motif of Romanticism,<ref>Pam Morris, ''Realism'' (Routledge, 2003), p. 52 [http://books.google.com/books?id=MFAW6dh24ZwC&pg=PA52&dq=%22titanic+struggle%22+ROmanticism+OR+Romantic&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&num=100&as_brr=3&as_pt=ALLTYPES#PPA52,M1 online.]</ref> which took hold in Belgium in the wake of the [[Belgian Revolution|Revolution of 1830]]. The Belgians had just secured their own "liberation"; over the ensuing two decades, there had been a craze for public sculpture, by the Geefs brothers and others, that celebrated the leaders of independence. The magnificently human figure of the iconic rebel who failed might have been expected to elicit a complex or ambivalent response.<ref>Royal Museum of Fine Arts, [http://www.fine-arts-museum.be/site/EN/frames/F_sculpture.html "Romanticism."]</ref> The suffering face of the ''génie'', stripped of the angry hauteur of ''L'ange du mal'', has been read as expressing remorse and despair; a tear slips from the left eye.<ref>Geuzine and Creusen, ''Vers la modernité''.</ref>
{{Clear}}

==Sister of angels==
[[File:Lucifer of Liège (tear detail) LucViatour.jpg|thumb|The tear of Lucifer (detail of ''Le génie du mal'')]]
In a 1990 essay, Belgian art historian [[:fr:Jacques Lennep|Jacques Van Lennep]] discussed how the conception of ''Le génie du mal'' was influenced by [[Alfred de Vigny]]'s long philosophical poem ''[[Éloa, ou La sœur des anges]]'' ("Eloa, or The Sister of Angels"), published in 1824, which explored the possibility of Lucifer's redemption through love.<ref>[http://www.lennep.be/principale.htm Jacques Van Lennep], ''La Sculpture belge au xixe siècle, exposition organisée à Bruxelles du 5 octobre au 15 décembre 1990, La Générale de banque, Bruxelles'' (Exhibition catalogue, 1990), as cited by Geuzaine and Creusen, ''Vers la modernité''. Although in origin Lucifer and Satan may be distinct beings, ''Eloa'' draws on a literary tradition that [[conflation|conflates]] the two figures.</ref> In this "lush and lyrical" narrative poem, Lucifer sets out to seduce the beautiful Eloa, an angel born from a tear shed by [[Christ]] at the death of [[Lazarus of Bethany|Lazarus]]. The Satanic lover is "literally a handsome devil, physically dashing, intellectually agile, irresistibly charismatic in speech and manner": in short, a [[Romantic hero]]. "Since you are so beautiful," the naïve Eloa says, "you are no doubt good."

Lucifer declares that "I am he whom one loves and does not know,"<ref>In French, ''Je suis celui qu’on aime et qu’on ne connaît pas.''</ref> and says he weeps for the powerless and grants them the occasional reprieve of delight or oblivion. Despite Eloa's attempt to reconcile him with God, Lucifer cannot set aside his destructive pride. In the end, Eloa's love condemns her to Hell with Lucifer, and his triumph over her only brings him sadness.<ref>Elizabeth Cheresh Allen, ''A Fallen Idol Is Still a God: [[Mikhail Lermontov|Lermontov]] and the Quandaries of Cultural Transition'' (Stanford University Press, 2007), pp. 89–90 [http://books.google.com/books?id=C0SsAAAAIAAJ&pg=PA89&dq=%22One+of+these+incarnations+appeared+in+Alfred+de+Vigny%27s+Eloa%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online]; Miriam Van Scott, ''The Encyclopedia of Hell'' (Macmillan, 1999), p. 103 [http://books.google.com/books?id=I9QNUhT4besC&pg=PA103&lpg=PA103&dq=%22sœur+des+anges%22+%22Alfred+de+Vigny%22&source=bl&ots=z0LByqY6Bw&sig=Ns9vq2M-OuCYLr0u65KW2bSS41U&hl=en&ei=QT_-SaKmFYieMtiwoLEE&sa=X&oi=book_result&ct=result&resnum=16 online.]</ref>

==''Himmelsweg''==
:''A version of'' Himmelsweg ''by Jacques Charlier may be viewed [http://blog.nadjavilenne.com/dotclear/images/leda62.jpg online.]''
In 1986, the Belgian artist [[:fr:Jacques Charlier|Jacques Charlier]] made ''Le génie du mal'' a focal point of his [[Installation art|installation]] ''Himmelsweg'' ("The Road to Paradise"). A framed photograph of the sculpture hangs over a slender pedestal table that is draped with a black cloth. A transparent case on the table contains three books: a [[Carmelites|Carmelite]] study on the subject of [[Satan]], a scientific treatise on [[Earth's atmosphere|air]], and a memorial of the [[History of the Jews in Belgium|Belgian Jews]] killed at [[Auschwitz]]. On the lower shelf of the table are [[shackles]].

Charlier has described his use of ''Le génie du mal'' as "a Romantic image that speaks to us of [[seduction]], [[evil]], and the [[sin]] of forgetting." The German title of the work refers to the [[Nazi]] euphemism or "cold joke" for the access ramp that led to the [[Gas chamber#Nazi Germany|gas chambers]]: "The Road to Paradise leads to Hell; [[Fall of Man|the Fall]] is so close to [[Salvation#Redemption|redemption]]."<ref>Nadja Vilenne galerie, ''[http://www.nadjavilenne.com/charlier_esprit.htm Himmelsweg]'', with artist interview conducted by R.Vandersanden; gallery news blogged by Jean-Michel Botquin, English [http://blog.nadjavilenne.com/dotclear/index.php?2008/03 version], 13 March 2008. On the word ''Himmelweg'' or ''Himmelsweg'', see Carrie Supple, ''From Prejudice to Genocide: Learning about the Holocaust'' (Trentham Books, 1993, 2nd ed.), p. 167 [http://books.google.com/books?id=cCx8xNkj20MC&pg=PA167&dq=%22the+Germans+called+the+path+leading+to+the+gas+chamber+Himmel-weg%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online]; [[Kate Millett]], ''The Politics of Cruelty: An Essay on the Literature of Political Imprisonment'' (W.W. Norton, 1995), p. 59 [http://books.google.com/books?id=i-QQAhSRhjAC&pg=PA59&dq=%22the+Himmelsweg+or+road+to+heaven%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online]; see also "The Cold Joke and Desecration" in [[Jonathan Glover]], ''Humanity: A Moral History of the Twentieth Century'' (Yale University Press, 2000), p. 341 [http://books.google.com/books?id=xtqFJVhmuowC&pg=PA340&dq=%22The+Cold+Joke+and+Desecration%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES#PPA341,M1 online.]</ref>

==Alternative religious veneration==
[[File:Serpent detail L'ange du mal (Joseph Geefs).jpg|thumb|100px|Serpent's head detail from Joseph Guillaume's ''L'ange du mal'']]
''Le génie du mal'' sometimes appears on [[blog]]s, [[Internet forum]]s, and other [[website]]s that are devoted to alternative religious practices such as [[Satanism]] and [[Luciferianism]].<ref>Examples (all retrieved 4 May 2009) include [http://paganspace.ning.com/forum/topics/1342861:Topic:1600469?page=9&commentId=1342861%3AComment%3A2028941&x=1#1342861Comment2028941 PaganSpace.net]; [http://205.155.133.191/~langhoffti/Luciferian.html Luciferianism]; [http://satanists.tribe.net/photos/6965d0ad-76c2-4d1d-b554-924f1ad4e045 Satanist Tribe.net]; [http://satanists.tribe.net/photos/6965d0ad-76c2-4d1d-b554-924f1ad4e045 "Deities (and Associated Religions) commonly associated with Satan(ism)"]; [http://satanists.tribenetwork.com Satanists].</ref> A travel writer has observed that in the 21st century the sculpture

{{cquote|is so successful that [[Satanists]] regularly come to meditate at its feet: enough to incur [[damnation]], indeed; its [[excommunication]] is being considered.<ref>Georges Rouzeau, "Spotlight on Liège," [http://www.viamichelin.co.uk/viamichelin/gbr/tpl/mag5/art20080315/htm/tour-visit-liege.htm Via Michelin online.]</ref>}}

==Selected bibliography==
*Soo Yang Geuzaine et Alexia Creusen, "Guillaume Geefs: ''Le Génie du Mal'' (1848) à la cathédrale Saint-Paul de Liège," ''Vers la modernité. Le XIXe siècle au Pays de Liège'', exhibition presented by the University of Liège, 5 October 2001 to 20 January 2002 [http://www.wittert.ulg.ac.be/expo/19e/album/165_geefs_genie.html online catalogue.]
* Michael Palmer ''et al.'', ''500 chefs-d'oeuvre de l'art belge du XVe siècle à nos jours'' (Éditions Racine, n.d.), p. 203 [http://books.google.com/books?id=eIhHTre5wYoC&pg=PT206&dq=%22Le+génie+du+Mal%22+intitle:500+intitle:chefs&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&as_pt=ALLTYPES online.]
*Edmond Marchal, "Étude sur la vie et les œuvres de Joseph-Charles Geefs," ''Annuaire de l'Académie Royale des sciences, des lettres et des beaux-arts de Belgique'' (Brussels, 1888).
*[[Royal Museums of Fine Arts of Belgium]], ''Le génie du mal'' by Joseph Geefs, Fabritius [http://www.fine-arts-museum.be/fabritiusweb/FullBB.csp?WebAction=ShowFullBB&RequestId=68766_2&Profile=Default&OpacLanguage=fre&NumberToRetrieve=10&StartValue=85&WebPageNr=1&SearchTerm1=GEEFSJOSEPH%20.2.3570&SearchT1=&Index1=Index24b&SearchMethod=Find_1&ItemNr=5 online catalogue.]

==References==
[[File:Chaire Cathédrale Liège 240809 06.jpg|thumb|''Le génie du mal'' in its architectural setting at the cathedral in Liège]]
{{Reflist}}

==External links to images==
*Guillaume Geefs' ''Le génie du mal'' may be viewed online in its [http://www.wittert.ulg.ac.be/expo/19e/album/165_geefs_genie.html architectural context]; also angle showing the [http://veroniqueliege.skynetblogs.be/tag/1/LIEGE-SENSUEL stained glass]
* Joseph Geefs, ''L'ange du mal'' (as ''Le génie du mal'') [http://books.google.com/books?id=eIhHTre5wYoC&pg=PA203&dq=%22La+carrière+de+Joseph+Geefs%22&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&cd=1#v=onepage&q=%22La%20carrière%20de%20Joseph%20Geefs%22&f=false full view]; [http://www.flickr.com/photos/pikimota/2455381558 hands detail]; [http://es.treklens.com/gallery/Europe/Belgium/photo425244.htm side view]
* ''Himmelsweg'' installation of Jacques Charlier, [http://www.nadjavilenne.com/charlier_esprit.htm Nadja Vilenne galerie] (scroll down) and [http://blog.nadjavilenne.com/dotclear/images/leda62.jpg zoomed image.]

{{DEFAULTSORT:Genie du mal, le}}

[[Category:Marble sculptures]]
[[Category:Religious art]]
[[Category:Roman Catholic Church sculpture]]
[[Category:Belgian art]]
[[Category:Fallen angels]]
[[Category:Works about the Holocaust]]
[[Category:Luciferianism]]

[[tr:Le génie du mal]]
[[fr:Le Génie du Mal]]

2011-02-07T11:36:37Z

CrucialFriend: french link added

{{Infobox station
| name = Haydarpaşa
| type = [[Turkish State Railways|TCDD]]
| style =
| image = Haydarpasa train station.jpg
| image_size = 300
| image_caption = Haydarpaşa train station
| address = Haydarpaşa Gar sk, Haydarpaşa, İstanbul, Turkey
| coordinates = {{Coord|40.996227|N|29.018636|E| type:railwaystation_region:TR|display=inline,title}}
| line =
| other = [[İETT]] Bus, Ferry service
| structure = At-grade
| platform = 5
| depth =
| levels =
| tracks = 11
| parking = Yes
| bicycle =
| baggage_check =
| opened = 1872
| closed =
| rebuilt = 1909
| electrified = 1969 ([[25 kV AC]])
| ADA = Yes
| code = 1560
| owned = [[Turkish State Railways|TCDD]]
| zone =
| status = Operating
| former =
| passengers =
| pass_year =
| pass_percent =
| pass_system =
| mpassengers =
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| map_locator =
}}

The '''Haydarpaşa Terminal''' or '''Haydarpaşa Station''' ({{lang-tr|Haydarpaşa Garı}}) is a major intercity [[rail station]] and transportation hub in [[İstanbul]]. It is the busiest rail terminal in [[Turkey]] and the [[Middle East]] and one of the busiest in [[Eastern Europe]]<ref>[http://www.tcdd.gov.tr/home/detail/?id=231 TCDD Official Site] - Haydarpaşa commuter train timetables</ref>. The terminal also has connections to [[İETT]] bus and ferry service. The Moda Tramway is a few blocks south of the station. The station has a main building (opened in 1909) that houses the headquarters of [[TCDD District 1|District 1]].

Haydarpaşa Terminal is the western terminus of the [[Istanbul-Ankara Main Line]] and was the western terminus of the former [[Baghdad Railway]] (İstanbul-Konya-Adana-Aleppo-Baghdad) and the [[Hedjaz Railway]] (İstanbul-Konya-Adana-Aleppo-Damascus-Amman-Medina)<ref name="Haydarpaşa">[http://www.trainsofturkey.com/w/pmwiki.php/Stations/IstanbulHaydarpasa Haydarpaşa Station History] - Trains and Railways of Turkey</ref>. The tracks do not cross the [[Bosphorus]], but there is a [[train ferry]], that carries rail cars from Haydarpaşa, on the [[Asia]]n side, to [[Istanbul Sirkeci Terminal|Sirkeci]], on the [[Europe]]an side<ref name="Haydarpaşa"/>.

==History==
===Ottoman Era (1872-1922)===
[[İstanbul]] was a very important city. At the time, it was the [[Capital city|capital]] of the [[Ottoman Empire]] as well as the largest city in the empire. İstanbul was a major economic and cultural hub. İstanbul had no rail link, so in 1871 [[Sultan]] [[Abdülaziz]] ordered a rail line to be built from [[Haydarpaşa]] to [[İzmit]]<ref name=CFOA>[http://www.trainsofturkey.com/w/pmwiki.php/History/CFOA CFOA History] - Trains and Railways of Turkey</ref>. Haydarpaşa station opened in 1872, when the railway reached [[Gebze]]. In 1888 the [[Anatolian Railway]] (CFOA) took over the line and the station. Since the station was built next to the Bosphorus, freight trains would unload at Haydarpaşa and the freight would be transferred to [[ships]]. Haydarpaşa station saw its first regular passenger service in 1890: a daily train from Haydarpaşa to İzmit<ref name="CFOA"/>. In 1892 the CFOA built a line to [[Ankara]] and shortly after a daily train ran between the two cities. Haydarpaşa was chosen to be the northern terminus of the [[Baghdad Railway]] and the [[Hedjaz Railway]] in 1904 and with rail traffic increasing, a new and larger station was required. The Anatolian Railway hired tow German architects; Otto Ritter and Helmut Conu to build the new building. They chose a [[Neoclassical architecture|neo-classical]] structure and construction started in 1906. Its foundation is based on 1100 wooden piles, each 21 meters long, driven into the mushy shore by a steam hammer. German and [[Italy|Italian]] [[stone mason]]s crafted the facade embellishments of the terminal. The German engineers and craftsmen who worked at the construction site of the building established a small [[Bosporus Germans|German neighbourhood]] in the Yeldeğirmeni quarter of [[Kadıköy]]. The new pseudo-castle station was completed in on August 19, 1909. The new station was inaugurated on November 4, 1909 for the anniversary of [[Mehmed V]]<ref name="CFOA"/>. The new station was built on land reclaimed from the sea. [[World War I]] broke out in 1914 and the [[Ottoman Empire]] sided with the [[Central Powers]] against the [[Allies of World War I|Allied Powers]]. The Ottomans lost and İstanbul was taken over by the [[British Empire]]. With the outbreak of the [[Turkish Independence War]] in 1919, British troops would board trains at Haydarpaşa to the frontier.

===Turkish Era (1923-Present)===
[[Image:Haydarpasa-1070032 1070097a.jpg|right|328 px|thumb|Haydarpaşa terminal]]

The [[Turkish Independence War]] ended October 29, 1923. The [[Republic of Turkey]] was formed and the [[British Empire]] retreated from İstanbul. Haydarpaşa station was still under CFOA control but in 1927, the newly formed [[Turkish State Railways]] took over the CFOA and the station, in an attempt to nationalize all Turkish railways<ref name=TCDD>[http://www.trainsofturkey.com/w/pmwiki.php/History/TCDD TCDD History] - Trains and Railways of Turkey</ref>. In 1927 the [[CIWL]] started a premier train service from Haydarpaşa to Ankara: the [[Anatolian Express]]. This all-sleeper train traveled daily between the two cities. In 1938 the [[Eastern Express]] entered service from Haydarpaşa to the eastern Turkish city of [[Kars, Turkey|Kars]], a distance of {{convert|1994|km|abbr=on}}<ref>The Ultimate Encyclopedia of Steam and Rail - By Colin Garrat and Max Wade-Matthews, page 401</ref>. With the completion of the Baghdad Railway to Baghdad, the famous [[Taurus Express]] entered service in 1940 from Haydarpaşa to [[Baghdad]], a distance of {{convert|2566|km|abbr=on}}<ref>The Ultimate Encyclopedia of Steam and Rail - By Colin Garrat and Max Wade-Matthews, page 396</ref>. In 1965 the [[Trans-Asia Express]] entered service from Haydarpaşa to [[Tehran]], a distance of {{convert|3059|km|abbr=on}}<ref>The Ultimate Encyclopedia of Steam and Rail - By Colin Garrat and Max Wade-Matthews, page 403</ref>. In 1969, the tracks from Haydarpaşa to [[Gebze]] were electrified with [[25 kV AC]] [[overhead lines|catenary]] for the [[Haydarpaşa-Gebze Commuter Line]]<ref name="TCDD"/>. In 1979 a tanker burning on the Bosphorus damaged the station building, but was restored a few months later. On November 28, 2010 a fire caused by carelessness during restoration process, destroyed the roof and the 4th floor of the station building.<ref name=hür>[http://www.hurriyet.com.tr/gundem/16397845.asp?gid=373]</ref>

[[Image:Haydarpasha train station istanbul.jpg‎|right|328 px|thumb|Haydarpasa terminal]]

[[Image:Haydarpasa train station.jpg ‎|right|328 px|thumb|Haydarpasa terminal]]

==Service==
{| class="wikitable"
|-
!width=100| Previous !!width=200| [[Turkish State Railways]] !!width=100| Next
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Capital Express (Turkey)|Capital Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Eskişehir Railway Station|Eskişehir]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Republic Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Eskişehir Railway Station|Eskişehir]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Fatih Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Ankara Railway Station|Anakara]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Ankara Express]] ||<center> [[Bostancı Railway Station|Bostancı]] Towards [[Ankara Railway Station|Ankara]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Bosphorus Express (Haydarpaşa-Ankara)|Bosphorus Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Ankara Railway Station|Ankara]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Anatolia Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Ankara Railway Station|Ankara]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Eskişehir Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Eskişehir Railway Station|Eskişehir]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Sakarya Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Eskişehir Railway Station|Eskişehir]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Eastern Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Kars Railway Station|Kars]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Van Lake Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Tatvan Railway Station|Tatvan]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Southern Express (Turkish train service)|Southern Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Kurtalan Railway Station|Kurtalan]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Meram Express]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Konya Railway Station|Konya]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Central Anatolia Blue Train]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Adana Railway Station|Adana]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Haydarpaşa-Adapazarı Bölgesel Ekspresi|Haydarpaşa-Adapazarı Regional]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Adapazarı Railway Station|Adapazarı]]
|-
|<center> ''[[Train station#Terminus|Terminus]]'' ||<center> [[Haydarpaşa-Gebze Commuter Line]] ||<center> [[Söğütlüçeşme Railway Station|Söğütlüçeşme]] Towards [[Gebze Railway Station|Gebze]]
|}

==Vicinity==

[[File:Haydarpasa campus general.jpg|thumb|300px|The nearby Haydarpaşa Campus of the [[Marmara University]], originally built as the Imperial Medical School and designed by [[Alexander Vallaury]] and [[Raimondo D'Aronco]].]]

There are tombs and monuments in the [[Haydarpaşa Cemetery]] near the military hospital, dedicated to the [[United Kingdom|British]] and [[Commonwealth]] soldiers, who lost their lives during the [[Crimean War]] (1854–1856) and during the two World Wars ([[World War I|1914-1918]] and [[World War II|1939-1945]], respectively.)

The northwest wing of the 19th century [[Selimiye Barracks]], which was transformed into a military hospital during the Crimean War, was the place where nursing pioneer [[Florence Nightingale]] cared wounded and infected [[British people|British]] soldiers. Her room is today a museum, and her belongings are exhibited to honor her memory. The museum also contains other items which date from the Crimean War.

The buildings of the Haydarpaşa Numune Hospital, GATA Military Hospital, Dr. Siyami Ersek Hospital and the present-day Haydarpaşa Campus of the [[Marmara University]] (the former Haydarpaşa High School, which was originally built as the ''Mekteb-i Tıbbiye-i Şahane'' (Imperial Medical School) and designed by architects [[Alexander Vallaury]] and [[Raimondo D'Aronco]]) are located close to the station.

The [[Port of Haydarpaşa]] at the north is one of the main [[container terminal]]s of Turkey.

==Public transport links==
*Suburban train Haydarpaşa-[[Gebze]]
*Ferryboat [[Kadıköy]]-Haydarpaşa-[[Karaköy]]
*Sea bus Haydarpaşa-[[Kabataş, Istanbul|Kabataş]]
*Train-ferryboat Haydarpaşa Terminal-[[Sirkeci Terminal]]

==In film==
The station was a scene used in the 2009 [[Chanel No. 5]] short film commercial, starring [[Audrey Tautou]] and model Travis Davenport.

==See also==
*[[Istanbul Sirkeci railway station]], the other major train terminal of Istanbul on the European side
*[[List of railway stations#Turkey|List of train stations in Turkey]]
*[[Public transport in Istanbul]]
*[[Baghdad Railway]]
*[[Hejaz railway|Hejaz Railway]]

==References==
{{Reflist}}

{{TCDD}}
{{Railway stations in Turkey}}

{{DEFAULTSORT:Istanbul Haydarpasa Terminal}}
[[Category:Transport in Istanbul]]
[[Category:Ottoman railways]]
[[Category:Railway stations in Turkey|Railway stations in Turkey]]
[[Category:Railway stations opened in 1908]]
[[Category:Buildings and structures in Istanbul]]
[[Category:Kadıköy, Istanbul|Haydarpasa Terminal]]

[[ar:محطة حيدر باشا]]
[[cs:Nádraží Haydarpaşa]]
[[de:Bahnhof Istanbul Haydarpaşa]]
[[fr:Gare de Haydarpasa]]
[[hu:Haydarpaşa pályaudvar]]
[[mk:Железничка станица Хајдарпаша]]
[[nl:Station Haydarpaşa]]
[[ja:ハイダルパシャ駅]]
[[pl:Istanbul Haydarpaşa]]
[[ru:Вокзал Хайдарпаша]]
[[sr:Железничка станица Хајдарпаша]]
[[tr:Haydarpaşa Garı]]
[[uk:Вокзал Хайдарпаша]]
[[zh:海達爾帕夏火車站]]