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






![Graeco-Armenian polytheist and researcher
[ref:6a5fb16eaa410]](https://www.mithraeum.eu/album/member/4f2c58562cb0d8eb.jpg)
t.me֎ Hetanos ☤ Հեթանոս ֍Անտիկ հեթանոսություն, հայկական, հելլենիստական, տարածաշրջանային հավատալիքներ։ Древнее язычество…

![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]](https://www.mithraeum.eu/album/member/57008043dc719eec.jpg)
ystrith.bandcamp.com𝐓𝐡𝐞 𝐌 𝐑𝐢𝐭𝐞𝐬, by Ystrith7 track album
































![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:
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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