Vadas József (szerk.): Ars Decorativa 11. (Budapest, 1991)
STURCZ János: Maróti Géza pályaműve a Rockefeller Centerhez
rock, with an eagle at his feet, (picture 17) Maróti used the same topic; the only difference is that here the eagle appears floating above the artists, with wings spread. Thus, the originally hostile bird is turned into a protective, glory-like symbol, with a slight suggestion of the dove of the Holy Spirit. 44 Maróti changed the other attribute of Prometheus, the dramatic rock, 45 for a more idyllic motif, the well of Musica Infinita. 46 Just like Orpheus's spring, it may stand for the ceaseless flow of information and music, conveyed by the media. In traditional iconography, the doves drinking at the rim of the well, as well as the deer drinking from the spring, are the symbols of the souls thirsting for the blessing of Christianity. Here they can only refer to the consumers of communications. On both illustrations, Maróti follows the mosaics of the Galla Piacidia mausoleum in Ravenna, which are devoted to the same topics. In fact, the shape of the well is absolutely identical to the one in Ravenna. The quotation fits well into the idea of continuity required in the program and, with the connection of traditional and modern conventions, it meets one of the basic requirements of art deco. Classicization has always been an excellent means of power representation. With the application of Greek titans, Maróti is able to mystify the multimedia and its owners, and at the same time, satisfy the demand of the American public to see everything that is old or connected to European mythology with obligatory fascination and nostalgia. Moreover, the figures of Orpheus and Prometheus were not chosen from among the heroes of Greek mythology by mere chance. Even in Ancient Greece they were the symbols of the artisans, work and technology — the gods of the ordinary people. This corresponded well to the hyperactive approach of industrial American society. In Maróti's picture, they represent order and the new, democratic human being, whose followers, i.e. the workers and the scientists, march together towards the realization of a new future, towards a world financed by Rockefellers. 47 NEW RELIGION - WISDOM In contrast with the symbols analysed so far, the rest of the allegories carry far more limited and less tangible meanings. To begin with, the identification of the two allegorical female figures is rather uncertain. According to the inscriptions beside them 48 , they should be connected with information conveyance and the concept of intelligence; perhaps they represent the two forms of intelligence implied by the PastPresent group, i.e. the rational and the religious experience. The features of three classical goddesses mix in the figure of Wisdom. On one hand, it resembles Minerva, or Pallas Athene, the traditional representative of wisdom. She is ususally pictured in one of two postures: the more archaic sitting, or Polias type and the newer and martial stepping or standing, or Palladian, type, equipped with arms. In the picture, Maróti chose the second. Only the attributes are „changed": the usual spear in her right was exchanged for a flash, while the shield in the left was converted into a book. The batch of flashes is traditionally an attribute of Zeus, but it docs not contradict Athene's myth since originally she was the representative of the flashes bursting forth from storm clouds; and in fact, this was the way she was born (bursting out of the head of Zeus). With Maróti, the batch of flashes may both refer to thoughts and to information bursting out or electricity indispensable for the operation of radio and television.
