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This bronze arm, with stars and a swastika, was once thought to be part of a Mithras statuette but has since been dismissed as unrelated to the Mithras cult.
The Mithraic nature of the frescoes of Oea, according to the scholars Cumont and Vermaseren, is now questioned.
The lion-headed figure from Rusicade, now Skikda, holds a key in both hands and features a pine cone beside his feet.
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.
This second altar discovered to date near Inveresk includes several elements unusual in Mithraic worship.
This altar to Invictus Mythra (sic) was found in 1867 in ancient Maros Portum, now Sighișoara, Romania.
In 1852, Károly Pap, a naval captain, unearthed several Mithraic monuments in his garden at Marospartos, including this altar.
A naked Mithra emerges from the cosmic egg surrounded by the zodiac, as always carrying a torch and a dagger.
The importance of the Mithraeum of Marino lies in its frescoes, the most significant of which is that of Mithras slaying the bull, surrounded by mythological scenes.
The epigrahy includes a mention of Marcus Aurelius, a priest of the god Sol Mithras, who bestowed joy and pleasure on his students.
Fresco of Mithras found in an arched niche above the right bench of the Baths of Caracalla’s Mithraeum in Rome.
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.
This is one of the three reliefs depicting Mithras killing the bull that the Louvre Museum acquired from the Roman Villa Borghese collection.
This monument representing Cautes with uncrossed legs was consecrated by a certain Anttiocus.
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 low relief of Bourg-Saint-Andéol depicting Mithras killing the bull has been chiseled on the rock.
The brick altar of the Mithraeum Menander was covered with marble slabs bearing a crescent and an inscription.
This painting depicts an Iranian knight holding in a chain a black naked figure with two heads.
This remarkable marble relief from the end of the 3rd century was discovered in the most remote room of the Mithraeum in the Circo Massimo.
