Description of Greece

Pausanias

Pausanias. Pausanias Description of Greece, Volumes 1-4. Jones, W.H.S. (William Henry Samuel), translator; Ormerod, Henry Arderne, translator. London, New York: W. Heinemann, G.P. Putnam's Sons, 1918-1935.

When the Carthaginians were at the height of their sea power, they overcame all in Sardinia except the Ilians and Corsicans, who were kept from slavery by the strength of the mountains. These Carthaginians, like those who preceded them, founded cities in the island, namely, Caralis and Sulci. Some of the Carthaginian mercenaries, either Libyans or Iberians, quarrelled about the booty, mutinied in a passion, and added to the number of the highland settlers. Their name in the Cyrnian language is Balari, which is the Cyrnian word for fugitives.

These are the races that dwell in Sardinia, and such was the method of their settlement. The northern part of the island and that towards the mainland of Italy consist of an unbroken chain of impassable mountains. And if you sail along the coast you will find no anchorage on this side of the island, while violent but irregular gusts of wind sweep down to the sea from the tops of the mountains.

Across the middle of the island runs another chain of mountains, but lower in height. The atmosphere here is on the whole heavy and unwholesome. The reason is partly the salt that crystallizes here, partly the oppressive, violent south wind, and partly the fact that, because of the height of the mountains on the side towards Italy, the north winds are prevented, when they blow in summer, from cooling the atmosphere and the ground here. Others say that the cause is Cyrnus, which is separated from Sardinia by no more than eight stades of sea, and is hilly and high all over. So they think that Cyrnus prevents the west wind and the north wind from reaching as far as Sardinia.

Neither poisonous nor harmless snakes can live in Sardinia, nor yet wolves. The he-goats are no bigger than those found elsewhere, but their shape is that of the wild ram which an artist would carve in Aeginetan style, except that their breasts are too shaggy to liken them to Aeginetan art. Their horns do not stand out away from the head, but curl straight beside the ears. In speed they are the swiftest of all beasts.

Except for one plant the island is free from poisons. This deadly herb is like celery, and they say that those who eat it die laughing. Wherefore Homer,[*](Hom. Od. 20.300 foll.) and men after him, call unwholesome laughter sardonic. The herb grows mostly around springs, but does not impart any of its poison to the water.I have introduced into my history of Phocis this account of Sardinia, because it is an island about which the Greeks are very ignorant.

The horse next to the statue of Sardus was dedicated, says the Athenian Callias son of Lysimachides, in the inscription, by Callias himself from spoils he had taken in the Persian war. The Achaeans dedicated an image of Athena after reducing by siege one of the cities of Aetolia, the name of which was Phana. They say that the siege was not a short one, and being unable to take the city, they sent envoys to Delphi, to whom was given the following response:—

  1. Dwellers in the land of Pelops and in Achaia, who to Pytho
  2. Have come to inquire how ye shall take a city,
  3. Come, consider what daily ration,
  4. Drunk by the folk, saves the city which has so drunk.
  5. For so ye may take the towered village of Phana.

So not understanding what was the meaning of the oracle, they were minded to raise the siege and sail away, while the defenders paid no attention to them, one of their women coming from behind the walls to fetch water from the spring just under them. Some of the besiegers ran up and took the woman prisoner, who informed the Achaeans that the scanty water from the spring, that was fetched each night, was rationed among the besieged, who had nothing else to quench their thirst. So the Achaeans, by filling up the spring, captured the town.

By the side of this Athena the Rhodians of Lindus set up their image of Apollo. The Ambraciots dedicated also a bronze ass, having conquered the Molossians in a night battle. The Molossians had prepared an ambush for them by night. It chanced that an ass, being driven back from the fields, was chasing a she-ass with harsh braying and wanton gait, while the driver of the ass increased the din by his horrible, inarticulate yells. So the men in the Molossian ambush rushed out affrighted, and the Ambraciots, detecting the trap prepared for them, attacked in the night and overcame the Molossians in battle.

The men of Orneae in Argolis, when hard pressed in war by the Sicyonians, vowed to Apollo that, if they should drive the host of the Sicyonians out of their native land, they would organize a daily procession in his honor at Delphi, and sacrifice victims of a certain kind and of a certain number. Well, they conquered the Sicyonians in battle. But finding the daily fulfillment of their vow a great expense and a still greater trouble, they devised the trick of dedicating to the god bronze figures representing a sacrifice and a procession.

There is here one of the labours of Heracles, namely, his fight with the hydra. Tisagoras not only dedicated the offering, but also made it. Both the hydra and Heracles are of iron. To make images of iron is a very difficult task, involving great labour. So the work of Tisagoras, whoever he was, is marvellous. Very marvellous too are the heads of a lion and wild boar at Pergamus, also of iron, which were made as offerings to Dionysus.

The Phocians who live at Elateia, who held their city, with the help of Olympiodorus from Athens, when besieged by Cassander, sent to Apollo at Delphi a bronze lion. The Apollo, very near to the lion, was dedicated by the Massiliots as firstfruits of their naval victory over the Carthaginians. The Aetolians have made a trophy and the image of an armed woman, supposed to represent Aetolia. These were dedicated by the Aetolians when they had punished the Gauls for their cruelty to the Callians. A gilt statue, offered by Gorgias of Leontini, is a portrait of Gorgias himself.