Sometimes, fragmentation is culturally sanctioned. In Florence, Italy, in the mid-16th century, artists were invited to create sculptures for public display outside of city hall which portrayed the theme of the subjugation of women.

Benvenuto Celliniís Perseus and Medusa, 1545-54, depicts a scene from Greek mythology. Medusa was the snake haired woman whose appearance was so horrid that any man who gazed upon her would be instantly turned to stone. Perseusí girlfriend was kidnapped, and the only way to rescue her from the clutches of the evil sea monster (obviously male) who held her was to show him the head of Medusa. With the help of the gods, Perseus was able to slice off Medusaís head and safely transport it back home to show to the sea monster and, in turn, rescue his girlfriend. In the sculpture, Perseus holds Medusaís head like a trophy while standing upon her mangled body.

Sociologically, this is a representation of male authority destroying an empowered woman who threatened male supremacy. In respect to the 16th century (the artistís Geist), women were advocating equal rights, and public sculptures such as Celliniís, sought to remind women of their place and what would happen if they threatened the male dominated order of society.