Pausanias Analysis

The Heraion is situated fifteen stades to the left of Mycenae. Along the road flows a stream known as Eleutherion, whose water is used by the women involved in the sanctuary for purification and for the secret rites of the sacrifices. The sanctuary itself lies lower than Euboea; for this mountain they call Euboea, saying that the river Asterion had daughters named Euboea, Prosymna, and Acraea, who became nurses of Hera.

The mountain opposite the temple of Hera is named after Acraea, and the region around the sanctuary is called Euboea; the land beneath the Heraeum, however, is known as Prosymna. The river Asterion, flowing above the Heraeum, disappears by plunging into a chasm. By its banks grows an herb, called asterion after the river itself; this plant is brought as an offering to Hera, and its leaves are woven into garlands.

They say that the architect of the temple was Eupolemus of Argos. The sculptures above the columns depict scenes representing the birth of Zeus and the battle between the gods and giants, while others portray episodes from the war against Troy and the capture of Ilium. Before the entrance stand statues of women who have served as priestesses of Hera, as well as those of heroes, among whom is Orestes. Indeed, the statue inscribed as King Augustus, they claim to be Orestes. In the pronaos are ancient statues of the Graces; and on the right, the couch of Hera, and a dedicated shield—the one Menelaus once took from Euphorbus in Ilium.

The statue of Hera sits on a throne and is of great size, made of gold and ivory, and is the work of Polycleitus. On her head is a crown wrought with figures of the Graces and the Hours. In one hand she holds a pomegranate fruit, and in the other a scepter. Now, let me pass over the account relating to the pomegranate, for it involves matters too sacred for me to disclose. But they say that the cuckoo perched upon her scepter represents Zeus, who, when he desired the maiden Hera, changed himself into this bird, and she hunted him for amusement. I record this story—and others similarly related concerning the gods—without accepting them; nevertheless, I record them nonetheless.

It is said that near Hera stands a statue of Hebe, a work by Naukydes, also made of ivory and gold; beside it is an ancient statue of Hera standing upon a column. But the oldest image, fashioned from wild pear wood, was dedicated in Tiryns by Peirasos of Argos; afterwards, when the Argives destroyed Tiryns, they took it and conveyed it to the Heraion. This statue I myself have also seen: it is seated and not large.

Among the offerings worthy of mention is an altar that has been decorated with a representation of what is called the marriage of Hebe and Heracles; this altar is made of silver. Emperor Hadrian dedicated a peacock fashioned of gold and precious shining stones, presenting it because this bird is considered sacred to Hera. Also placed there are a golden crown and a purple robe, both dedicated by Nero.

Above this temple are the foundations of a previous temple, along with whatever else was left untouched by the fire. The fire was caused by Chrysis, the priestess of Hera, who fell asleep when the lamp was burning in front of the wreaths. Afterwards, Chrysis herself moved away to Tegea and there sought refuge with Athena Alea. The Argives, despite the magnitude of such a disaster, did not remove Chrysis' statue; it remains to this day placed in front of the burned temple.