Sept, 30, 1997

The World of Women in Crete, Greece, and Rome

The most prevalent feeling conveyed by the statuette, the stela, and the tondo, is that of feminine idealization. The three works present women that are ideal by the unique standards of their society. In general, art is meant to convey the sentiments of a time, and it is obvious that these three pieces are trying to illustrate the epitome of femininity, as designated by each of their communities. The artists depict each subject as an independent character that has a specific function within her society. These functions are clearly addressed in relation to the subject's gender, age, sexuality, and the expectations that these attributes affect upon her. Through a short narrative, the artist simplifies each woman's life, showing only their socially expected function. As a male viewer, you are content with these idealized women, and can smile upon them with pride, and as a women, you can look at them as role models for your own life.

Each of these women represent the desired attributes unique to their societies and its upper-class. In Minoan societies, women are well respected as an important part of the community. They serve a very important role, one of sustaining the lifeblood of civilization. Thus, they are revered as homemakers. Greek women, on the other hand, were viewed more as extraneous creatures whose only functions were procreation, and beautification of the landscape. They were not respected by men, but instead viewed as objects that had little intrinsic value. It was believed that if left to themselves they would waste away the day playing, gossiping, and daydreaming. Thus, since the ideal Greek child is not yet capable of procreation, she is not able to fulfill her function as a Greek woman, aside from having a child-like, classic beauty. Having no real function in society, the ideal child would innocently play all day long, without a worry in her head. The Roman woman has a much different role than her Minoan or Greek counterparts. She is expected to be educated, literate, and able to converse intelligibly about the classics. Roman women, unlike Greek women, had many of the same rights as men. They could become professional writers, physicians, and even run their own businesses. Thus, the ideal Roman woman would be educated and thoughtful, in addition to being beautiful.

Only by conveying the subjects of these pieces as individual persons, can the artists begin to present a standard unique to their own society. This is attained by portraying their subjects with verisimilitude. They are not completely idealized, because that would distance them too far from reality. Instead, they wear customary clothing, and are engaging in common actions.

The Snake Priestess is wearing a costume that was standard amongst Minoan women, but, as her posture suggests, she is definitely not your normal, everyday woman. She has a very commanding presence, as she stands, with her snake laden fists outstretched. These snakes exhibit her regenerative powers, and her bare breasts show her ability to sustain the life she has brought to her home. Thus, she is a very competent woman by ancient Minoan standards. She is a symbol of the home, and the ability to protect that home. She so realistically portrays the ideal woman that, while one might question whether she is a goddess, or a mortal, one would not doubt that this perfection is possible to attain. Thus, a Minoan man would hope his wife could achieve this perfection, and a Minoan woman would strive to be this perfect.

The Girls with Doves is clothed in a robe similar to one that her mother might wear. We see that it is a bit too large for her, as part of it finds its way underneath her sandal. Her hair is neatly pulled back, to show her idealized face with its semi-boyish features. She has a thick brow and large nose, making her face look more manly than feminine. Because she is not yet a woman, she is not illustrated in a forcibly feminine manner. Her body is chubby, like that of a child. Clearly, she is addressed as someone that could be an ideal woman one day, but is presently an innocent child playing with her pets. One day she could have been large enough to fit into her robe, but unfortunately that day will never come. In place of an adult woman, we have a child that embodies the role all girls have in Greek society. She aspires to fill her mother's robe, and equally her mother's role in life, but until then, she will quietly entertain herself with her doves.

The Young Woman Writing, with her typically Roman features, is dressed in a typically Roman fashion. Her hair is bound in the usual way, but an air of perfection surrounds her. She is the ideal Roman woman. As she pensively nibbles upon her stylus, it is obvious that she is educated, and literate. She is not shown as a dreamy, simple-minded woman, instead she is contemplative. She might be a professional writer who, lacking the words to express a particular thought, gazes ahead searching for the perfect phrase. Equally, we gaze about to find the perfect Roman woman and we find her.

One social aspect that becomes obvious through these works is that all of these women belong to the upper-class. The artist makes this clear by showing that they have spare time. In ancient times, only the upper-class had the time to worship their gods in rituals like that portrayed by the Snake Priestess. In addition, by virtue of the fact that the Minoan woman is a priestess, is it definitely known that she was an upper-class woman. The Greek child, who has enough spare time to play with her pets, obviously belongs to the upper-class, otherwise she would be shown aiding her mother in the completion of some domestic task. Similarly, the Roman woman belongs to the upper-class, because only rich families could educate their children. Education was a status symbol in itself, declaring its possessor as wealthy and respectable. The social functions of these women would differ drastically from that of their less wealthy counterparts, thus they are an idealization of the upper-class woman, and not the common woman. They represent perfection for a woman that has the time to perfect herself. Thus, it is not expected that a slave woman endeavor to become like these women, but that a wealthy woman attempt to attain this perfection.

In addition to social status, each artist carefully takes into account the age and sexuality of these women while attempting to perfect them. Since the Minoan concept of ideal femininity is centralized around "woman as a sexual being," it makes sense to portray the Snake Priestess as a symbol of fertility, and to illustrate her large, life-sustaining breasts. She is able to create and nurture life, and these properties are what make her so ideal. Similarly, Greek women were thought of as sexual beings, but not with respect to fertility, instead as the objects of male desire. In contrast, the ideal Greek child is not viewed as a sexual being, thus it would make little sense to portray the Girl with Doves in that manner. Instead, she is portrayed with respect to her age, not just her gender. As a woman, she could be portrayed in a sexual manner, but as a child that never reached womanhood, she is portrayed as innocent and almost boyish. The Roman ideal incorporates a coy sexuality that the Young Woman Writing hints at as she gazes out at you. She could be writing a love letter to you, or she could be writing a book, you really don't know. As an educated woman, she is able to fool you. Thus, her sexuality is only hinted at, as would be the case in Roman society, where young women were not merely seen as sexual beings, but also as intellectuals.

Eye contact also serves to express the artists' ideas of sexuality, and the mentality of the subjects. The Snake Priestess, who stares directly at you is demanding that you notice her. She wants you to realize that she is a perfect sexual being. In a way, she is flaunting her sexuality, making you, the spectator, its willful victim. The Girl with Doves is not even facing you. She is in her own world, that includes her doves and herself, but not you. Thus, she is not sexually available to the spectator. She is not aware of her sexuality, as it is not yet a concern of hers, and for this reason, you also are not aware of her sexuality. The Young Woman Writing gazes out, not directly at you, but in your direction. She is teasing you, allowing you to think she may be interested in you, and making sure you realize she has control over the situation. Roman women had almost the same rights as Roman men, so the ideal Roman woman would have control over her sexuality in this manner. Thus by not looking directly at you, she arouses your interest, without allowing herself to be objectified.

The primary accomplishment of each of these pieces is conveying the social desires of the times. In the time of the Minoan Snake Priestess, it was desirable for women to be fertile and able to sustain a home. As a woman spectator looks at this piece, she is reminded of that. She accepts her role as a homemaker and realizes that this statuette celebrates her competence and her contribution to society. In Ancient Greece, women were valued by their ability to satisfy the desires of men. The Girl with Doves who died before her time was never able to fulfill her objective as a female member of Greek society. A female onlooker would look upon this stela with pain in her heart as she realized that this innocent child was never able to perform her function in society, but knowing that this child can eternally play with her pets would relieve some of the spectator's sorrow. The ancient Romans desired educated, contemplative women. A women who looks upon the Young Woman Writing would be reminded of this. She would realize that her education, like the education of the subject, could allow her to control her own life. She could be a physician, business woman, or even a writer like this woman. With her education, she could be respected by men and women alike. Thus, the average woman spectator would look upon these pieces and both validate her feminine achievements, and see how she needed to improve herself.

The theme of feminine idealization particular to a specific society encompasses these three pieces. While presenting the feminine ideal with respect to their own unique societies, the artists of these three works have illustrated that the feminine ideal differs greatly over time and distance. Since these ideal women only depict certain attributes, they bring attention to the primary social expectations put upon women. By showing ideal femininity through realistic subjects, the artists are able to encourage contemporary women to achieve this perfection.