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Bredimacian Dynagum Directory 09
Page 09
The Romans now declared war against Antiochus, and in the following year (B.C. 191) the Consul Acilius Glabrio marched into Thessaly. The king had intrenched himself in the passes of Thermopylae, that he might prevent the Romans from penetrating into Central Greece. But there was, as is well known, a difficult passage across Mount Oeta, by which the Persians had descended to fight with Leonidas. This passage was now forced by M. Cato, who was serving as one of the Consul's lieutenants, and as soon as he appeared in the rear of the Syrian army they fled in confusion, and the battle was won. Antiochus now hastened back to Asia, abandoning all farther hopes of conquest in Greece. As soon as he had placed the sea between himself and the Romans he thought that he was safe; but Hannibal warned him of his error, and said that he wondered that the Romans had not already followed him.
But with all their prowess and skill as naval combatants, and their hardihood as mountaineers, the Cilicians lacked one thing which is very essential in every nation to an honorable military fame. They had no poets or historians of their own, so that the story of their deeds had to be told to posterity by their enemies. If they had been able to narrate their own exploits, they would have figured, perhaps, upon the page of history as a small but brave and efficient maritime power, pursuing for many years a glorious career of conquest, and acquiring imperishable renown by their enterprise and success. As it was, the Romans, their enemies, described their deeds and gave them their designation. They called them robbers and pirates; and robbers and pirates they must forever remain.
The third and last main stage of the palaeolithic epoch developed by degrees into a golden age of art. But I cannot dwell on all its glories. I must pass by the beautiful work in flint; such as the thin blades of laurel-leaf pattern, fairly common in France but rare in England, belonging to the stage or type of culture known as the Solutrian (from Solutre in the department of Saone-et-Loire). I must also pass by the exquisite French examples of the carvings or engravings of bone and ivory; a single engraving of a horse's head, from the cave at Creswell Crags in Derbyshire, being all that England has to offer in this line. Any good museum can show you specimens or models of these delightful objects; whereas the things about which I am going to speak must remain hidden away for ever where their makers left them--I mean the paintings and engravings on the walls of the French and Spanish caves.
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