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The relief of Mithras killing the bull of Stefano Rotodon preserves part of his polycromy and depicts two unusual figures: Hesperus and an owl.
The main fresco of the Mithraeum of Santa Maria Capua Vetere portrays Mithras slaughtering a white bull.
The Hekataion of Sidon, which depicts Hekate in her trimorphic form surrounded by three dancing girls, is the only example found to date in connection with the Mithraic cult.
This small white marble relief of Mithras as a bullkiller was found in the Botanical Gardens of Vienna in 1950.
A limestone lion holding a flowing urn, discovered at the entrance of the Mithraeum of Les Bolards, reflects the ritual significance of water within the cult of Mithras.
At Rome’s twilight, amid political upheaval and Christian ascendancy, Vettius Agorius Praetextatus embodied pagan intellect, virtue, and authority across senatorial, military, and mystical spheres.
Francesco Massa examines how the concept of mysteria was transformed in the Roman Empire, as Christian authors from the mid-second century CE adopted the language of mysteries to articulate their own rituals and beliefs, reshaping understandings of both Christian and traditional cults…
Limestone low-relief depicting Cautopates standing cross-legged in eastern dress, accompanied by a bull, flowing water from an overturned jar and a crescent from Bolognia.
This altar found at ancient Burginatum is the northernmost in situ Mithraic find on the continent.
The relief of Mithras slaying the bull at Mauls in Gallia cisalpina is a paradigmatic example of the so-called Rhine-type Tauroctony.
Marble inscription recording the dedication of a cult image to the unconquered Mithras by a certain pater Valerius Marinus from Rome.
A series of polemical passages in which a leading fourth-century Christian theologian presents the cult of Mithras as a religion defined by cruelty, bodily suffering, and shameful initiation rites.
The bronze bears the dedication of a restoration of a Mithraeum carried out in 183.
A conversation between Peter Mark Adams and Christophe Poncet on the esoteric tarot, in relation to the elite and Saturnian Sola-Busca tarocchi and the popular and luminous Tarot de Marseille.
Why did the Romans worship a Persian god? This book presents a new reading of the Mithraic iconography taking into account that the cult had a prophecy.
The starting point of this study of the initiation into the cult of Mithras are the 462 sites where traces of the cult have been found to date. They form the framework of the study.
The Dionysian themed frescos of Pompeii’s Villa of the Mysteries constitute the single most important theurgical narrative to have survived in the Western esoteric tradition.
