A Compendium of the Ancient Gods
Hera, plate

Hera was the queen of the gods, the senior wife of Zeus, the patroness of marriage and of married women, the great goddess of Argos and Samos. She was a daughter of Cronus and Rhea, sister of Zeus and Poseidon, and one of those whom Cronus had swallowed and Zeus liberated. After the Titanomachy, Zeus took her to wife with great ceremony — the marriage of Zeus and Hera was the divine prototype of every Greek marriage thereafter, celebrated in cult at the Heraion of Argos and elsewhere — and she bore him Ares, Hephaestus, Hebe, and Eileithyia. (Hephaestus, in some traditions, she bore alone, in parthenogenesis, in pique at Zeus's having brought forth Athena from his own head; this version explains why Hephaestus is sometimes treated as not fully Zeus's son.)

Hera's principal narrative role in the mythology is as the wronged wife pursuing her husband's lovers and their offspring with implacable jealousy. Her vengeance fell variously and severely. She turned Callisto into a bear; she sent two snakes against the infant Heracles in his cradle; she pursued Heracles throughout his life with the goading of madness, with the imposition of his Twelve Labors (technically dictated by Eurystheus, but Eurystheus was Hera's instrument), and with the final agony of the poisoned shirt that killed him. She drove Io across the world in cow-form, sending the gadfly Argus to keep watch over her. She delayed the birth of Apollo and Artemis on Delos by detaining Eileithyia. She afflicted Semele with the fatal demand to see Zeus in his glory. She sent the Sphinx to Thebes. She supported the Greeks in the Trojan War, with bitter enmity toward Paris, who had passed her over in the Judgment of Paris (Aphrodite winning, Hera and Athena being slighted, and the goddesses' united vengeance falling upon Troy in consequence).

Beyond her jealous rages, Hera was the great goddess of legitimate marriage and of the institution of the Greek household; her cult at Argos, where the great Heraion (excavated by the American School of Classical Studies in the 1890s) housed an enormous gold-and-ivory cult statue by Polycleitus, was among the most prestigious in Greece. She was honored at Samos with another great Heraion, possibly even more ancient. Married women across the Greek world celebrated her festivals; her wedding to Zeus was reenacted in seasonal ritual. Her Roman counterpart Juno preserved the marriage-protectress role with greater dignity than Hera retained in the literary tradition; the Greek mythological Hera was a less sympathetic figure than her cult would have suggested.

Curator’s note

What the sources say, and what later tradition added. The sources for this bay

Homer, Iliad and Odyssey throughout (Hera is one of the most active divine characters in both poems); Hesiod, Theogony 921–924; Apollodorus 1.3.1, 2.4.8 (the snakes against Heracles); Pausanias for the Argive Heraion. The Heraion of Samos, excavated since the late nineteenth century, has produced some of the earliest monumental Greek sculpture; its great peripteral temple of c. 575 BCE was the largest of its day. The character-tension between cultic-Hera (revered patroness of marriage) and mythological-Hera (vindictive shrew) is well-recognized; the cultic figure is the older and more dignified, the mythological coloring largely a literary development.

Kin in the sources

Each tie is quoted from the entry that states it.

The same god in other rooms

The ancient sources themselves name these as one god under different names. See Satis, Hera and Uni hung together

When the sources speak

Dated witnesses for Hades and the Lesser Olympians. A date marks when the evidence was written down, not when the belief began. The whole timeline

c. 1600–1100 BCE
Mycenaean palace tablets in Linear B record offerings and divine names, but little continuous myth.
c. 1100–800 BCE
Post-palatial oral traditions and changing cult landscapes precede the surviving alphabetic epics.
late 8th–7th centuries BCE
The Iliad, Odyssey, Hesiodic Theogony and Works and Days give influential but non-exclusive divine orders.
7th–6th centuries BCE
Homeric Hymns, lyric poetry, colonization, and local sanctuary traditions multiply regional narratives.
6th–5th centuries BCE
Orphic, Pythagorean, and mystery materials develop alternative cosmogonies and afterlife doctrines.
5th century BCE
Athenian tragedy and comedy recast heroic houses and divine justice for civic audiences.
4th century BCE
Philosophers, antiquarians, and local historians interpret or criticize inherited myth.
323–31 BCE
Hellenistic poets and scholars systematize variants across an enlarged Greek world.

Floor plan

The rooms follow one another in the order their peoples first appear in the written record.

  1. The Cradle of Citiesc. 3400 BCE to 395 CE. 115 works
  2. The Gift of the Nilec. 4000 BCE to 395 CE. 73 works
  3. The Olympian Orderc. 1600 BCE to 750 CE. 152 works
  4. The Persian Worldc. 2000 BCE to 1010 CE. 30 works
  5. The Levantine Borderlandsc. 1200 BCE to 500 CE. 20 works
  6. The Edges of Empirec. 2000 BCE to 1500 CE. 33 works
  7. The Etruscan Worldc. 900 BCE to 750 CE. 22 works
  8. The Roman Inheritancec. 1200 BCE to 500 CE. 58 works
  9. The Northern Inheritancec. 2000 BCE to 1600 CE. 131 works