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This bust of a lion-headed figure has been was part of a French private collection.
This is one of the three reliefs depicting Mithras killing the bull that the Louvre Museum acquired from the Roman Villa Borghese collection.
Marble plaque with inscription by a certain Ursinus found in Virunum in 1838.
The Mithraeum of Sutri was built inside a rocky hill that also hosted the Roman theatre of the city.
Currently in the Musei Vaticani, this Tauroctony includes Mithras’s birth restored as Venus anaduomene.
Terracotta krater from the southern part of the Friedberg Mithraeum, discovered in 1849. The vessel is decorated in relief with serpents, a scorpion and a ladder-like motif.
This Mithraic temple, also known as the Mithraeum of the Olympii, dates to the 3rd century and was rediscovered in 15th-century Rome, but it has not been preserved.
This monument is the only one still available from the disappeared Mithraeum in Piazza S. Silvestro in Capite.
In these passages from his hymns and satires, Julian articulates a solar theology in which Helios governs cosmic order and time. Within this framework, Mithras appears as a personal divine guide associated with the ascent of souls.
This tauroctony may have come from Hermopolis and its style suggests a Thraco-Danubian origin.
The altar of the Mithraeum of San Clemente bears the Tauroctony on the front, Cautes and Cautopates on the right and left sides and a serpent on the back.
Small triangular slab bearing a Latin inscription referring to Sol Invictus and to a sacred cave, probably dating to the 4th century AD.
Emperor Julian may have been initiated into the cult of the god Mithras at the Mithraeum of Vienne, France, according to Turcan.
This altar mentioning the god Arimanius was found in 1655 at Porta San Giovanni, on the Esquilino.
Mithras being born from the rock (petrogenia), acquired in Rome and formerly kept in Berlin.
The Mithraeum of the Crypta Balbi was locted in the middle of a densely populated insula near the theatre of Cornelius Balbus.
This tauroctony relief is distinguished by the rare depiction of Tellus reclining beneath the bull.
In polemical passages from the late second and early third centuries, Tertullian portrays the cult of Mithras as a demonic imitation of Christian rites and provides rare early references to Mithraic initiation and ritual symbolism.
The Mithraeum des Bolards was integrated into a therapeutic cultural complex related to healing waters.
