Then the work goes with Corinthia (Κορινθιακά), Laconia (Λακωνικά), Messenia (Μεσσηνιακά), Elis (Ἠλιακά), Achaea (Ἀχαϊκά), Arcadia (Ἀρκαδικά), Boeotia (Βοιωτικά), Phocis (Φωκικά), and Ozolian Locris (Λοκρῶν Ὀζόλων).

There are no ancient mentions of either until the 6th century AD, and the book seems to have survived to the Middle Ages in a single manuscript, itself now lost.

Although as a critic of art and architecture he is usually vague and frustratingly brief, his few words are often or usually the only surviving literary source from antiquity, and of great interest to historians and archaeologists.

Even in the most remote Greek regions, he was fascinated by many kinds of holy relics, depictions of deities, and other mysterious and sacred things.

For example, at Thebes, Pausanias views the ruins of the house of the poet Pindar, the shields of warriors who died at the famous Battle of Leuctra, the statues of Arion, Hesiod, Orpheus, and Thamyris.

As Christian Habicht, a modern day classicist who wrote a multitude of scholarly articles on Pausanias, says: "He definitely prefers the sacred to the profane and the old to the new, and there is much more about classical art of Greece than the about contemporary, more about gods, altars, and temples, than about statues of politicians or public buildings.

Towards the end of Description of Greece, Pausanias touches on the fruits of nature and products, such as the date palms of ancient Aulis, the wild strawberries at Mount Helicon, the olive oil in Tithorea, as well as the "white blackbirds" of Mount Kyllini (Cyllene) and the tortoises of Arcadia.

A widely known version of the text was translated by William Henry Samuel Jones and is available through the Loeb Classical Library.