Randazzo Vecchio — The New Mithraeum

The New Mithraeum

14 Jun 2024

TNMM 773

The Randazzo Vecchio statue in Sicily bears a number of similarities to the Mithraic lion-headed god Aion, particularly in the common motifs of the serpent and the lion that accompany both figures. Moreover, the remains of the original Randazzo Vecchio, still embedded in the northern wall of the Church of San Nicola, show that the statue once wore a Phrygian cap, similar to that of Mithras himself. These parallels suggest a possible cultural or religious link, or at least a common iconographic influence. Although the present statue, a later 18th-century copy, has been modified to include an eagle on its head – a significant departure from the original design — the basic elements remain deeply rooted in the visual language common to ancient Mithraic representations.

The current statue of Randazzo Vecchio, prominently displayed in Piazza S. Nicolò, is not the original but an 18th century replica. The remains of the ancient statue are preserved in the northern wall of the church dedicated to the same saint, next to the square. According to the Reverend Plumari, the original was erected sometime between 1166 and 1189, during the reign of Guglielmo il Buono, although the exact reasons for its commission are not recorded. The replacement statue was commissioned by Abbot Pietro Rotelli, with an inscription indicating its completion in 1737, but it was not installed until November 1746.

The statue depicts a mature, naked man standing on his left leg, his right foot resting on a lion, with two snakes wrapped around his legs, one reaching to his navel, the other to his heart. The figure’s face is framed by a curling beard and moustache, and he originally wore a Phrygian cap, indicating stylistic links with Mithraic iconography, although this has been replaced in the copy by an eagle perched on his head. The original also had a right arm, now missing, raised towards the church.

Documentary evidence of the ancient statue is scarce, so the exact iconographic differences between the original and the copy, beyond the changes mentioned, are unclear. During the replacement, Abbot Rotelli had the ancient Latin inscriptions on the base of the statue re-engraved, retaining two of the original inscriptions and replacing the others.

The statue has given rise to various hypotheses as to its identity and symbolism. Suggestions range from a representation of the cyclops Piracmone to Ducezio, King of the Siculi. Historical manuscripts and epigraphs point to its ancient origins, possibly linking it to cities such as Tissa, Triocla or the Sicilian capital of Trinacia. The animal symbols associated with it – an eagle, a lion and two snakes – further complicate interpretations and have been suggested to symbolise aspects of local cities, knowledge, procreation or the control of violence. Despite extensive scholarly speculation, definitive conclusions about the statue’s origins and iconography remain elusive, reflecting a mixture of local legend, ancient history and scholarly interpretation.