[1]. “Antoninus the Second,” he tells us (viii. 43. 6), “inflicted punishment on the Germans, the most numerous and warlike barbarians in Europe.”
His preference
for the
older over
the later
art.
When we examine Pausanias’s choice of monuments we find that, like his account of the country and people, it was mainly determined by two leading principles, his antiquarian tastes and his religious curiosity. In the first place, the monuments described are generally ancient, not modern; in the second place, they are for the most part religious, not profane. His preference for old over modern art, for works of the fifth and fourth centuries B.C. over those of the later period, was well founded and has been shared by the best judges both in ancient and modern times. Cicero, Dionysius of Halicarnassus, Quintilian, and our author’s own contemporary, Lucian, perhaps the most refined critic of art in antiquity, mention no artist of later date than the fourth century B.C. The truth is, the subjugation of Greece by Macedonia struck a fatal blow at Greek art. No sculptor or painter of the first rank was born after the conquest. It seemed as if art were a flower that could only bloom in freedom; in the air of slavery it drooped and faded. Thus if Pausanias chose to chronicle the masterpieces of the great age of art rather than the feebler productions of the decadence, we can only applaud his taste. Yet we may surmise that his taste was here reinforced by his patriotism. For he was more than a mere antiquary and connoisseur. He was a patriot who warmly sympathised with the ancient glories of his country and deeply mourned its decline. He recognised Athens as the representative of all that was best in Greek life, and he can hardly find words strong enough to express his detestation of the men who by weakening her in the Peloponnesian war directly prepared for the conquest of Greece by Macedonia. The battle of Chaeronea he describes repeatedly as a disaster for the whole of Greece, and of the conqueror Philip himself he speaks in terms of the strongest reprobation. The men who had repelled the Persians, put down the military despotism of Sparta, fought against the Macedonians, and delayed, if they could not avert, the final subjugation of Greece by Rome were for him the benefactors of their country. He gives a list of them, beginning with Miltiades and ending with Philopoemen, after whom, he says, Greece ceased to be the mother of the brave. And as he mentions with pride and gratitude the men who had served the cause of freedom, so he expresses himself with disgust and abhorrence of the men who had worked for the enslavement of Greece to Persia, to Macedonia, and to Rome. His style, generally cold and colourless, grows warm and animated when he tells of a struggle for freedom, whether waged by the Messenians against the Spartans, or by the Greeks against the Gauls, or by the Achaeans against the Romans. And when he has recorded the final catastrophe, the conquest of Greece by Rome, he remarks as with a sigh that the nation had now reached its lowest depth of weakness, and that when Nero afterwards liberated it the boon came too late—the Greeks had forgotten what it was to be free.
His preference
for
religious
over profane
art.
The preference which Pausanias exhibits for the art of the best period is not more marked than his preference for sacred over profane or merely decorative art, for buildings consecrated to religion over buildings devoted to the purposes of civic or private life. Rarely does he offer any general remarks on the aspect and architectural style of the cities he describes. At Tanagra he praises the complete separation of the houses of the people from the sanctuaries of the gods. Amphissa, he tells us, was handsomely built, and Lebadea could compare with the most flourishing cities of Greece in style and splendour. On the other hand he viewed with unconcealed disdain the squalor and decay of the Phocian city of Panopeus, “if city it can be called that has no government offices, no gymnasium, no theatre, no market-place, no water conducted to a fountain, and where the people live in hovels, just like highland shanties, perched on the edge of a ravine.” In the cities he visited he does indeed notice market-places, colonnades, courts of justice, government offices, fountains, baths, and the houses and statues of famous men, but the number of such buildings and monuments in his pages is small compared to the number of temples and precincts, images and votive offerings that he describes, and such notice as he takes of them seldom amounts to more than a bare mention. The civic buildings that he deigns to describe in any detail are very few. Amongst them we may note the Painted Colonnade at Athens with its famous pictures, the spacious and splendid Persian Colonnade at Sparta with its columns of white marble carved in the shape of Persian captives, the market-place at Elis, and the Phocian parliament-house with its double row of columns running down the whole length of the hall and its seats rising in tiers from the columns up to the walls behind.
His
descriptions of
religious
monuments.
It is when he comes to religious art and architecture that Pausanias seems to have felt himself most at home. If in his notice of civic buildings and monuments he is chary of details, he is lavish of them in describing the temples and sanctuaries with their store of images, altars, and offerings. The most elaborate of his descriptions are those which he has given of the temple of Zeus at Olympia with the great image of the god by Phidias, the scenes on the Chest of Cypselus in the Heraeum at Olympia, the reliefs on the throne of Apollo at Amyclae, and the paintings by Polygnotus in the Cnidian Lesche at Delphi. But, apart from these conspicuous examples; almost every page of his work bears witness to his interest in the monuments of religion, especially when they were more than usually old and quaint. Among the queer images he describes are the thirty square stones revered as gods at Pharae; the rough stones worshipped as images of Love and Hercules and the Graces at Thespiae, Hyettus, and Orchomenus; the pyramidal stone which represented Apollo at Megara; the ancient wooden image of Zeus with three eyes on the acropolis of Argos; the old idol of Demeter as a woman with a horse’s head holding a dove in one hand and a dolphin in the other; the figure of a mermaid bound fast with golden chains in a wild wood at the meeting of two glens; the image of the War God at Sparta in fetters to hinder him from running away; the bronze likeness of an unquiet ghost clamped with iron to a rock to keep him still; an image of Athena with a purple bandage on her wounded thigh; a pair of wooden idols of Dionysus with shining gilt bodies and red faces; and tiny bronze images of Castor and Pollux, a foot high, on a rocky islet over which the sea broke foaming in winter, but could not wash them away. Some of the images he describes as tricked out with offerings of devout worshippers. Such were an image of Pasiphae covered with garlands; a figure of Hermes swathed in myrtle boughs; a crimson-painted idol of Dionysus emerging from a heap of laurel leaves and ivy; and a statue of Health almost hidden under tresses of women’s hair and strips of Babylonish raiment in the shade of ancient cypresses at Titane. Among the appointments of the sanctuaries he mentions, for example, altars made of the ashes or blood of the victims, perpetual fires, a golden lamp that burned day and night in the Erechtheum, a gilt head of the Gorgon on the wall of the Acropolis, a purple curtain in the temple of Zeus, a golden and jewelled peacock dedicated by Hadrian to Hera, the iron stand of Alyattes’s bowl, chains of liberated prisoners, hanging from the cypresses in the grove of Hebe, and bronze railings round the shaft down which the enquirer, clad in a peculiar costume, descended by a ladder to consult the oracle of Trophonius.
His
interest in
relics.
Again, Pausanias loves to notice the things, whether worshipped or not, which were treasured as relics of a mythical or legendary past. Such were the remains of the clay out of which Prometheus had moulded the first man and woman; the stone that Cronus had swallowed instead of his infant son; the remains of the wild-strawberry tree under which Hermes had been nourished; the egg which the lovely Leda had laid and out of which Castor and Pollux had been hatched; the ruins of the bridal chamber where Zeus had dallied with Semele; the mouldering hide of the Calydonian boar; and the old wooden pillar, held together by bands and protected from the weather by a shed, which had stood in the house of Oenomaus. In the temple of Artemis at Aulis, now represented by a ruined Byzantine chapel in a bare stony field, the traveller was shown the remains of the plane-tree under which the Greeks had sacrificed before setting sail for Troy, and on a neighbouring hill the guides pointed out the bronze threshold of Agamemnon’s hut. But the most revered of all the relics described by Pausanias seems to have been the sceptre which Hephaestus was said to have made and Agamemnon to have wielded. It was kept and worshipped at Chaeronea. A priest who held office for a year guarded the precious relic in his house and offered sacrifices to it daily, while a table covered with flesh and cakes stood constantly beside it. A ruder conception of religion than is revealed by this practice of adoring and feeding a staff it might be hard to discover amongst the lowest fetish-worshippers of Western Africa. And this practice was carried on in the native city and in the lifetime of the enlightened Plutarch! Truly the extremes of human nature sometimes jostle each other in the street.