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Sandstone relief depicting the god Aion, standing with wings, a staff and a key, accompanied by a lion and a serpent-entwined vessel.
Sandstone statue of Cautopates holding two downward-pointing torches, from the Ober-Florstadt Mithraeum.
In these two key passages, Justin Martyr interprets Mithraic rituals and myths as demonic parodies of Christ’s incarnation, the Eucharist, and biblical revelation.
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.
This monument is the only one still available from the disappeared Mithraeum in Piazza S. Silvestro in Capite.
Roman relief from a sanctuary on the Janiculum Hill (Rome), showing a male figure bound by a serpent coiled seven times.
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 article examines two recently discovered Mithraic representations of Cautes from Alba Iulia, focusing on a rare iconographic type showing the torchbearer with a bucranium.
Statue of Cautes from Bodobrica, discovered around 1940, depicting the torchbearer standing before a tree or rock and associated with a bucranium.
Emperor Julian may have been initiated into the cult of the god Mithras at the Mithraeum of Vienne, France, according to Turcan.
The Mithraic vase from Ballplatz in Mainz depicts seven figures arranged in two narrative sequences, commonly interpreted in relation to initiation rites.
This fragmentary relief depicts Mithras killing the bull in the usual manner, remarkably dressed in oriental attire.
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.
An anonymous late-antique Christian poem, traditionally attributed to Pseudo-Paulinus of Nola (Poema 32, vv. 109–111), that ridicules pagan cults and presents Mithras, Isis, and Serapis as gods of concealment, contradiction, and unstable forms rather than light…
Standing stone statuette of Cautopates, the downward-torch bearer, found at Bordeaux and kept in the city’s museum of antiquities (musée d’Aquitaine ?).
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…
A critical edition of the Mithras Liturgy (PGM IV.475–834), providing the Greek text, English translation, commentary, and an updated discussion of its interpretation since Albrecht Dieterich’s 1903 edition.
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.
De oorspronkelijke Nederlandse uitgave van 1959 introduceerde het werk van Vermaseren, dat als klassiek geldt in de populaire studie van het mithraïsme en dat de belangstelling voor deze cultus blijvend heeft gevormd.
