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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.
The image of Mithras killing the bull, found near Walbrook, is surrounded by a Zoadiac circle.
This collective volume explores the ways ancient peoples interacted with divine powers through prayer, magic, and the interpretation of the stars. Drawing on evidence from Mesopotamia to Late Antiquity, it situates these practices within broader religious and cosmological systems…
Fritz Saxl interprets Mithraism primarily through its images, proposing the cult as a visual cosmology structured around the descent, sacrifice and re-ascent of light, developed in close dialogue with Aby Warburg and Erwin Panofsky.
A Roman centurion investigates a ritual murder and a deadly new weapon, the Fire of Mithras, from the alleys of Lutetia to the battle of Argentoratum.
Jean Suttman’s study trip in Rome turns nightmarish when she discovers a murdered student in the Temple of Mithra and realizes someone is out to harm her.
Genet aborde les thèmes qui lui sont chers, dans les règles de l’art mais en laissant affleurer un lyrisme bien tenu.
