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The dedicator of this marble basin could be the same person who offered the sculpture of Mithras slaying the bull in the Mitreo delle Terme di Mitra.
The image of the god Arimanius to which this monument refers has not yet been found.
These two parallel altars to the diophores were dedicated by the Pater and a Leo from the Mithraeum of S. Stefano Rotondo.
The sculpture of Mithras rock-birth from Santo Stefano Rotondo bears an inscription of Aurelius Bassinus, curator of the cult.
The inscription mentions the name of the donor, Yperanthes, of Persian origin.
The monument is engraved with an inscription by Cresces, the donor.
As this short inscription indicates, Aemilio Epaphorodito was both Pater and priest of the Mithraeum of the Seven Spheres.
The sculptures of Cautes and Cautopates from the Mitreo del Palazzo Imperiale may have been reused from an older mithraeum in Ostia.
The Mithraic fellow P. Aelius Urbanus mentions that he built the sacred area of the Mithraeum Circo Massimo.
This remarkable marble relief from the end of the 3rd century was discovered in the most remote room of the Mithraeum in the Circo Massimo.
This altar, now lost, mentions that the Pater Patrum passed on the attributes of the sacred Corax to his son.
This stele found at the foot of the Aventine bears an inscription of Kastos father and son, and mentions several syndexioi who shared the same temple.
Three mithraic monuments were found in 1931, suggesting that a mithraeum probably existed in the area.
The Mitreo Fagan revealed remarkable sculptures of leon-headed figures now exposed at the Vatican Museum.
The Macerata Tauroctony shows Mithra slaying the bull with the usual Pyrigian cap and six rays around his head.
The Mithraeum Felicissimus has a floor mosaic depicting the seven mithraic grades.
Mithras birth from the knees upwards emerging from a rock and wearing as usual a Phrygian cap.
The site was destroyed in the 5th century but some elements, including the benches, can still been seen.
