Gender credo has signified political and cultural values in Greek and Roman era. In particular women representation in artwork has pondered and reinforced the values of their times. In the articles, "Parthenon and Parthenoi: A Mythological Interpretation of the Parthenon Frieze" by Joan B. Connelly and "The Muted Other" by Natalie Boyment Kampen, the Parthenon frieze, the Ara Pacis: Imperial Family frieze, and Cornelia: Mother of the Gracchi, are pieces depicted to characterize women in their implemented roles. Taking a look at the Parthenon, 442-438 B.C. Athens, there are many scenes, which display women in an active purpose of their society. The Parthenon frieze is said, "to be viewed as a representation of the fifth-century Athenian citizenry participation in their annual Panathenaic procession" (Connelly 53). The east frieze manifests the royal family preparing the sacrifice of the youngest daughter in memory of Erechtheus and the parthenoi. It is customary for the Parthenon's family to have large number of female members. Parents that evince three daughters would immediately signify that they were an Athenian royal family. Greek catastrophe shows virgins of noble birth sacrificed to ensure victory in war. Thus, in the event the youngest is sacrificed the other sisters gave their lives as loyalty not only to the sister, but also to the polis. The Athenians commemorate the dead hero and heroines and celebrate their first victory. It was assumed, "boys go to war, girls go to sacrifice, both for the good of the polis" (61). This scene states that in this era women were looked as equals as long as it was for the well being of the polis. If Athenian soldiers sacrificed their lives on her behalf, she should be ready to die on theirs (61). As time prevails in 13 B.C. we become aware of male dominance, nevertheless women still have an important part in family life.The Ara Pacis Augustae, 13-9 B.C Rome, explains the role of the female c...
