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Acta diurna

Daily Gazette

Acta diurna is our Mithraic social stream for keeping up to date with what is happening in The New Mithraeum.

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Sept 2026
Scriptum
The M Rites — seven musical reflections on the Mithraic mysteries

Hello everyone,

Andreu kindly invited me to share this work here, so I thought I would introduce it by saying a little more about the ideas behind it.

I record as Ystrith, and The M Rites is a seven-part dark ambient album inspired by the Mithraic mysteries.

What drew me to Mithraism was not an attempt to imagine or reconstruct what its rituals may actually have sounded like. I became fascinated instead by the peculiar condition in which the cult survives today: mithraea, reliefs, tauroctonies and symbolic figures remain extraordinarily tangible, while the lived experiences, gestures and beliefs of the people who once gathered around them are largely beyond our reach.

That tension between material presence and human absence became one of the central ideas of the album.

There is also a much older and more personal association behind the work. When I was young, I encountered the ancient distinction between Phosphorus, the morning star, and Hesperus, the evening star — two apparently different celestial bodies eventually understood to be the same planet, Venus. Over the years I began, purely imaginatively rather than historically, to associate this with Cautes and Cautopates: two almost mirror-like figures, essentially alike except for the opposing directions of their torches. The thought of an apparent duality concealing an underlying unity stayed with me for a very long time.

The seven pieces approach this world from different angles:

1. Cautes
The album begins with the raised torch: emergence, ascent and the suggestion of something becoming visible. For me, Cautes also represents one half of that unresolved duality that frames the entire work.

2. Fading Gates
This piece is about thresholds — not simply entrances into physical sanctuaries, but the distance separating us from a world whose doors can no longer truly be crossed. We can approach it through archaeology and imagination, but never completely enter it.

3. Marble Tauroctonies
Here my attention turned to the surviving images themselves: stone scenes that have endured long after the meanings, gestures and people surrounding them disappeared. Their permanence is strangely inseparable from everything they cannot tell us.

4. Myth of the Petrogenesis
This piece takes its starting point from the image of Mithras emerging from the rock. I was interested less in illustrating the myth than in its extraordinary visual idea: life, divinity and revelation arising directly from apparently inert matter.

5. Voces Magicae
The title refers to the mysterious power of utterance — words, names and sounds whose significance may be only partly recoverable to us. The human voice here is approached less as the bearer of a clear message than as a trace of ritual presence.

6. Solstice at the Spelaeum
The longest piece on the album. I imagined the mithraeum as a space where architecture, darkness, carefully
Dear Ystrith,

Thank you for your generosity! I redeemed the first code.

I love the music so far! Very good and creative work!

I think the Solstice at the Spelaeum is going to be my comfort track for a while!

May Mithras bless you!
directed light and ideas of the cosmos could momentarily converge. Rather than depicting an actual ceremony, the piece lingers on the experience of standing within such a space and sensing the immense distance between ourselves and those who once knew it as a living ritual environment.

7. Cautopates
The lowered torch closes the album. Rather than simply opposing Cautes, I think of the two figures as completing one another: descent and ascent, evening and morning, apparently opposite movements that may belong to the same cycle — just as Hesperus and Phosphorus proved to be two appearances of the same celestial body.

I would be very interested to hear how these ideas resonate — or fail to resonate — with people who know the Mithraic material far better than I do. I approached the subject as a musician, not as a historian, and the album is deliberately a contemporary response rather than an attempt at reconstruction.

You can listen to The M Rites here:

𝐓𝐡𝐞 𝐌 𝐑𝐢𝐭𝐞𝐬, by Ystrith

I’d also like to leave a few complimentary Bandcamp download codes here for anyone in the community who would like to keep a copy:

nggw-wur7
5ku4-h5hv
bz5j-era8
5266-3su2
8vz2-clah
2fta-xa35
dang-jbcf
xhaw-uyqm
hefq-ju6g
jrd7-gp9u

Redeem them here:

Ystrith

I hope some of you find something in the work worth exploring, and I’d be genuinely interested in any thoughts, associations or disagreements it may prompt.

Ystrith
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Sept 2026
Vultus

~ Has a new face ~

Sept 2026
Vultus

~ Has a new face ~

Sept 2026
NewSocius
Ystrith is an Italian dark ambient project. A home for those drawn to the hidden workings of nature, the mystery concealed within ordinary existence and the question of what it means to be human.

[ref:6aad73b2872a6]
Ystrith is an Italian dark ambient project. A home for those drawn to the hidden workings of nature, the mystery concealed within ordinary existence and the question of what it means to be human.ystrith.bandcamp.com𝐓𝐡𝐞 𝐌 𝐑𝐢𝐭𝐞𝐬, by Ystrith7 track album
Sept 2026
Syndexios

Crescens

Enslaved dedicant to Cautopates at Mithraeum I of Poetovio, belonging to Gabinius Antonius.
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Sept 2026
Syndexios

Venulus

Enslaved member of the Mithraic community at Poetovio who dedicated an altar to Cautes in Mithraeum I.
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Sept 2026
NewScriptum
I am glad to now have Peter Mark Adams’ book in my collection of literature on Mithraism. I am enjoying it greatly so far!
I am glad to now have Peter Mark Adams’ book in my collection of literature on Mithraism. I am enjoying it greatly so far!
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Sept 2026
NewTextus

Adams on Mithras

Restoring the Mysteries: A Conversation with Peter Mark Adams on his new book ‘Ritual & Epiphany in the Mysteries of Mithras’.
Behzad Bolout
I love the idea of this book and I’m looking forward to to buy and read it.
Only one thing looking at the text above there seems to be no mention of the origin of Mithraism, which is Iran and has nothing to do with Zoroastrianism,
In fact, the prophet Zoraostara raised against it.
And instead of looking for toots in europe it all goes to mystic Persia & Iran where it developed and during Parthian wars and trades took over Rome.
The roman version has local signs and philosophy then after the birth of Mithras goes to its original Persian form.
The Parthian belief and religion (Mithras) was wiped out after Sassanians took over.
Thank god that their religion lived in in Roman empire (so we can discover its doctrine.
Which later wiped out by christianity.
Sorry
Behzad Bolour (correct spelling)
Dear Behzad,

You are, of course quite right.

That said, the earliest account of the tauroctony that exactly matches the more famous frescoes and sculptures of the Roman era is that described in the Epic of Gilgamesh circa 2,000 BCE - and even that is likely to be a relatively ’late’ account of an already ancient oral tradition).

The gods Mitra, Varuna and Indra are all cited in the famous Hittite - Mitanni peace treaty circa 1,380 BCE. These people appear to have entered Anatolia circa 2,000 BCE, the Hittites by way of the Caucasus.

The earliest image of what looks like the tauroctony appears on a ring of King Saussatar (Shaushtatar) of Mitanni from the fifteenth century BCE.

Of course our understanding of the origins of the Hittite and Mitanni leaves something to be desired, but they appear to have entered the culturally Luwian zone of Anatolia sometime in the second millennium BCE. Certainly in the case of the Hittites they tended to assimilate themselves to the Luwian pantheon and language in their religious rites. All of this is, admittedly, somewhat foggy - the decipherment of Luwian hieroglyphics is still ongoing.

For the Hellenistic Age it is clear that the syncretism arising from the Greek, native Anatolian and Persian influence gave rise to a rich cultural mix and that the Hellenistic Kingdoms (who claimed ancestry from Cyrus, Darius & Alexander) acknowledged Mithras as Apollo-Mithras-Helios-Hermes.

The native Carian dynasty, the Hekatomnids, were appointed Persian satraps for south west Anatolia, adopted Persian monumental architecture (at Labraunda) where they also conducted sacred banquets in purpose built Andron (which are neither a Greek nor a Roman tradition) and whose layout is identical to the later mithraea of the Roman Empire.

As far as the transmission of the cult to Rome goes I agree that this was entirely due to the Parthian king, Tiridates I, soujourn in Rome under Nero in 66 CE.

I conjecture that the introduction of the cult to the Roman elite was part of the process of underwriting the political settlement between Rome and Parthia over Armenia - Mitra / Mithras was, after all, the god of treaties and agreements par excellence.

That said we still have the early attestation concerning the Cilician pirates celebrating secret mystery rites of Mithras in the first century BCE.

Beneath all of these ’royal’ goings on we know that trade routes connected vast swathes of the Near/Middle East with Europe and Asia and as far as Afghanistan - how early? Certainly by the Bronze Age; but if the evidence of the Amber, Lapis Lazuli and Obsidian trades are anything to go by long, long before.

So yes, the Cult of Mithras was introduced to the Roman elite by the Parthian King of Armenia - but the roots and question of ultimate origins remain far from clear.

I do hope that you enjoy the book - hopefully it will (fingers crossed) be emerging from the printers in the next week or so.

Thank you for taking an interest in my work, I do hope that you find the book of interest.

Very best,

Peter Mark Adams
Author
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Sept 2026
NewMonumentum

Altar to Cautes by Venulus from Ptuj

White marble altar from Mithraeum I at Ptuj, dedicated to Cautes by Venulus and decorated with a bust of the god emerging from foliage.
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Sept 2026
NewScriptum
Now, you can follow TNM News through RSS.

If you haven’t used RSS before, it’s a way to gather new articles from websites you follow in a single app, called a feed reader. It checks for updates for you and provides links to read them.

We publish news and interviews occasionally, so this can be useful if you’d like to hear from us without having to check the website.

To follow TNM, add this address to your reader: mithraeum.eu/news.rss
Now, you can follow TNM News through RSS.

If you haven’t used RSS before, it’s a way to gather new articles from websites you follow in a single app, called a feed reader. It checks for updates for you and provides links to read them.

We publish news and interviews occasionally, so this can be useful if you’d like to hear from us without having to check the website.

To follow TNM, add this address to your reader: mithraeum.eu/news.rss
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Sept 2026
NewScriptum
🔘 The meaning of historical era:

The arrival of the sun in the spring equinox to any constellation means the beginning of a new historical era. The previous age was the age of Pisces, which ended in 2019. Then the sun entered the constellation of Aquar
🔘 The meaning of historical era:

The arrival of the sun in the spring equinox to any constellation means the beginning of a new historical era. The previous age was the age of Pisces, which ended in 2019. Then the sun entered the constellation of Aquar
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Sept 2026
New

~ Has joined studium.mithraicum ~

Sept 2026
New

~ Has joined nabarzes ~

Sept 2026
NewIntro

Massimo Livadiotti

Contemporary Italian artist exploring myth, sacred imagery and the legacy of the ancient world.
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Sept 2026
NewTextus

From Mithraism to Freemasonry. A history of ideas

Twelve centuries separate the decline of Roman Mithraism from the dawn of Freemasonry. Twelve centuries during which the mysteries of Mithras have remained more secret than ever.
One hypothesis is that the mythology of the Roman secret society of Mithras was transformed into an esoteric society, still secret, using the Bible as a screen. Let's take an example: a secret password for today's Masonic lodges is 'Shiboleth'. Shiboleth' means 'ears of wheat', i.e. abundance. Is not the tail of the bull of Mithras an ear of wheat? There are probably dozens of passwords like that. So Hebrew became a secret language for the followers of Mithras, who continued the cult after the fall of Rome, in sanctuaries located near springs or spas, at the same time as the cult of Hercules. Many of these places can be found in France, dating from the 7th to the 10th century. Crypts dating from the 8th and 9th centuries can also be found under Romanesque churches (the church at 'Saint Savin sur Gartempe' has a crypt dating from 800 AD, and a church built above it in 1030 AD). This crypt has a clear mithraeum shape. The modern Masonic rites were probably written in the 15th or 16th century in certain monks' chapters in France or Germany. This would explain why in the 17th century 'pro-Masonic' lodges sprang up in several different parts of Europe: Germany, Ireland, Scotland etc.... the French lodges or guilds were destroyed by Louis XV.
It makes perfect sense. My hesitation would lie in the time gap that separates Mithraism and Freemasonry. I admit that certain knowledge has been passed down through the centuries in oral form from all sorts of mystical traditions that spread from the Middle Ages to modern times, including the Cathars, the Bogomiles, even the Knights Templar if you like, but I think there is a missing piece and that is perhaps the greatest Mithraic scholar of all time, Monsieur Franz Cumont. Even if he wasn't a Freemason, he was a pretty good friend of some notorious ones at the time he was rediscovering the Mysteries. Among them was Eugène Goblet d'Alviella, Grand Maître du Grand Orient de Belgique from 1884 to 1886 and Souverain Grand Commandeur du Suprême Conseil in 1900.
The modern Masonic lodge is organised around the starry vault, but the officers are still arranged in a very similar way to the Mithraeum, respecting the two solstices and the two equinoxes. The Venerable Master in the East is at the spring equinox, the first sign of the ancient Zodiac, and the seat of Mithras, from where he intervenes in the journey of souls.The modern Masonic lodge is organised around the starry vault, but the officers are still arranged i…
this capital from the cloister of the abbey of Monreal in sicily dates from the 12th century and is very disturbing. It’s exactly Mithras (upside down). This means that, contrary to the idea we have of the past, the cult of Mithras was known and understood in the 12th century. Probably less violently than we do today. All this had to be known and respected.
See all 19 comments
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Sept 2026
NewTextus

The Mysteries of Mithras

The Mysteries of Mithras is an independent Initiatic Order which is inspired by and uses the allegory of the lost and ancient Mithraic Mysteries also known as Mithraism a previously influential Roman Cult of the same name.
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Sept 2026
NewTextus

Regarding the “Persian” nature of Mithras and Mithraism

A flaw in the dominant narrative or just the usual genealogy?
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Sept 2026
NewIntro

The Mithraeum

The mithraeum brought the cave of Mithras into the inhabited Roman world. Its benches, images and ritual furnishings created a place where a community could gather around the god and understand its sanctuary as an image of the cosmos.
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Sept 2026
NewScriptum
The Door/Gate from Ashotakert (Yeşilalıç Kapı)

Although the gates near Van Fortress are the most famous, few people know that there is also a gate at Ashotakert. Such gates/doors were associated iwth God Haldi, who was later equated with Mihr/Mher in the Armenian pantheon.

"Yeşilalıç Kapı (Yeşilalıç Gate) is an Urartian open-air cult monument, located near the village of Yeşilalıç (formerly known as Pagan), approximately 60 km east of the city center of Van and 35 km south of the Özalp district center. The monument lies on the southern slopes of Mount Nazarabad, about 1,5 km southeast of the village as the crow flies. Although the area is now far from main roads, in the Urartian period it was situated on a major route connecting the Lake Van region to northwestern Iran."

"Among locals, it is also known as the Stone Gate or Ashotakert (Ashot Gate)—the latter being the former name of the region. The monument was first discovered and its inscription copied by J. Wünsch, who visited the region in 1882, and it was first published by D. H. Müller in 1886.
The monument is carved into the southern face of a rock outcrop, and in terms of shape and dimensions, it is similar to Meher Kapı, though it is about 1 meter taller. Inside the niche is a 10-line cuneiform inscription (A 3‑2), and just like at Meher Kapı, the same text is repeated twice. However, this inscription is significantly shorter. The inscription indicates that the monument was built during the joint reign of King Išpuini and his son Minua, in the last quarter of the 9th century BCE, same like Meher Kapı. Nevertheless, researchers believe that the Yeşilalıç monument predates Meher Kapı slightly.
In front of the monument is a platform carved into the rock, accessible by a set of steps. On this platform are stele sockets arranged in two groups of three. Although no stelae have survived in the area, it is believed that these sockets once held stelae similar to the uninscribed ones found side-by-side at Altıntepe.
The word “susi”, which appears in the Yeşilalıç Kapı inscription, is generally associated with tower-type Urartian temples, leading researchers to link this monument to a nearby temple structure. One hypothesis suggests that such a temple may once have existed within the ruins of a small fortress located about 100 meters west of the monument. More recent studies propose that the foundation traces identified on the rock directly above Yeşilalıç Kapı could indicate the former presence of a temple structure at that location."

Source:
[ref:6aa51f9a6cd1d]
The Door/Gate from Ashotakert (Yeşilalıç Kapı)

Although the gates near Van Fortress are the most famous, few people know that there is also a gate at Ashotakert. Such gates/doors were associated iwth God Haldi, who was later equated with Mihr/Mher in the Armenian pantheon.

"Yeşilalıç Kapı (Yeşilalıç Gate) is an Urartian open-air cult monument, located near the village of Yeşilalıç (formerly known as Pagan), approximately 60 km east of the city center of Van and 35 km south of the Özalp district center. The monument lies on the southern slopes of Mount Nazarabad, about 1,5 km southeast of the village as the crow flies. Although the area is now far from main roads, in the Urartian period it was situated on a major route connecting the Lake Van region to northwestern Iran."

"Among locals, it is also known as the Stone Gate or Ashotakert (Ashot Gate)—the latter being the former name of the region. The monument was first discovered and its inscription copied by J. Wünsch, who visited the region in 1882, and it was first published by D. H. Müller in 1886.
The monument is carved into the southern face of a rock outcrop, and in terms of shape and dimensions, it is similar to Meher Kapı, though it is about 1 meter taller. Inside the niche is a 10-line cuneiform inscription (A 3‑2), and just like at Meher Kapı, the same text is repeated twice. However, this inscription is significantly shorter. The inscription indicates that the monument was built during the joint reign of King Išpuini and his son Minua, in the last quarter of the 9th century BCE, same like Meher Kapı. Nevertheless, researchers believe that the Yeşilalıç monument predates Meher Kapı slightly.
In front of the monument is a platform carved into the rock, accessible by a set of steps. On this platform are stele sockets arranged in two groups of three. Although no stelae have survived in the area, it is believed that these sockets once held stelae similar to the uninscribed ones found side-by-side at Altıntepe.
The word “susi”, which appears in the Yeşilalıç Kapı inscription, is generally associated with tower-type Urartian temples, leading researchers to link this monument to a nearby temple structure. One hypothesis suggests that such a temple may once have existed within the ruins of a small fortress located about 100 meters west of the monument. More recent studies propose that the foundation traces identified on the rock directly above Yeşilalıç Kapı could indicate the former presence of a temple structure at that location."

Source:urartianmonuments.comYeşilalıç Kapı - Urartian MonumentsYeşilalıç Kapı, is a sacred place for Urartu civilization. It is called Gate of Haldi.
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