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In Letter 107 to Laeta, Jerome combines a pastoral reflection on conversion with an account of the urban prefect Gracchus, who ordered the destruction of a Mithraic cave in Rome, listing the seven grades of initiation associated with the cult.
Roman relief from a sanctuary on the Janiculum Hill (Rome), showing a male figure bound by a serpent coiled seven times.
This tauroctony may have come from Hermopolis and its style suggests a Thraco-Danubian origin.
Sandstone relief of Mithras as bull-slayer, found at Petronell in 1932, with dog, serpent and scorpion, traces of polychromy preserved, now in the Museum Carnuntinum.
Sandstone relief of Mithras killing the bull, broken in two parts and partly restored, with dog, serpent and scorpion preserved; formerly in Vienna, now on loan to the Museum Carnuntinum.
Fragmentary relief corner depicting Mithras as bull-slayer, preserving the bull’s hindquarters, scorpion, serpent and part of a torchbearer, with a partial inscription.
Conglomerate statue of the birth of Mithras, found in a burnt layer, showing the god nude emerging from the rock with raised hands and a snake.
Marble votive altar with inscription to Mithras, featuring coiled, fan-like motifs above the text and associated with the statio Enensis.
Triangular marble slab (H. 0.39 Br. 0.30 D. 0.03), found in the Forum of Nerva.
Small triangular slab bearing a Latin inscription referring to Sol Invictus and to a sacred cave, probably dating to the 4th century AD.
The Mithraic vase from Ballplatz in Mainz depicts seven figures arranged in two narrative sequences, commonly interpreted in relation to initiation rites.
The Mithraeum of the Crypta Balbi was locted in the middle of a densely populated insula near the theatre of Cornelius Balbus.
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.
Mithras, also called Mitra or Mithra depending on the historical period, region or language, is one of the oldest known Indo-European gods.
The Mithraeum des Bolards was integrated into a therapeutic cultural complex related to healing waters.
Radcliffe G. Edmonds III analyses the absence of the moon in the Mithras Liturgy. He argues that this absence reflects a deliberate cosmological framework in which lunar powers linked to genesis are excluded from the ritual of ascent.
A erotic military fantasy set against the dramatic background of Rome’s conquest of the British Isles.
Professor Wind's acclaimed work explores pagan mysticism and neoplatonic philosophy in Renaissance art, offering insightful analyses of masterpieces by Botticelli, Michelangelo, Raphael and Titian.
Kerivel explore voie mystique des Alévis que, selon lui, trouve son origine dans la très ancienne religiosité des peuples iraniens et sur les structures et les rituels du culte de Mithra.
Genet aborde les thèmes qui lui sont chers, dans les règles de l’art mais en laissant affleurer un lyrisme bien tenu.
