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Badly damaged fresco fragment showing a person in red attire in a kneeling position, from the initiation sequence of the Mithraeum of Capua.
Head in Phrygian cap with a sorrowful expression, used as a protome in the Amphitheatre of Capua and interpreted as a head of Mithras.
Altar inscription dedicated to Sol Augustus by the decurion Valerius Carpus, from Timgad (ancient Thamugadi).
Great royal inscription of Antiochus I of Commagene carved on the thrones at Nemrud Dağı, invoking Apollo-Mithras-Helios among the guardian deities of the kingdom, 69–34 B.C.
Group of nearby religious dedications associated with soldiers of the Legio III Augusta and the wider sacred landscape around the Mithraeum.
Reworked limestone altar dedicated by the governor of Numidia during the period of the Diocletianic persecutions.
Limestone altar dedicated to Sol Invictus Mithras by the governor and military commander Marcus Valerius Maximianus.
Assemblage of lamps, keys, torches, an iron knife, pottery, glass fragments, and five coins from Mithraeum III at Heddernheim, ancient Nida
Damaged red sandstone altar from Mithraeum II at Heddernheim, ancient Nida, with the representation of an axe on its front face
Tall sandstone column base from Mithraeum I at Heddernheim, ancient Nida, with an inscription set between two columns, possibly naming Mithras
Assemblage of lamps, serpent-vases and painted ritual pottery from the sanctuary complex.
Commagenean sanctuary preserving relief fragments of Mithras greeting royal figures at the hierothesion of Mithridates Kallinikos.
Inscription from Hamadan where the ’great king’ Artaxerxes mentions Ahuramazda, Anahita, and Mithra as guardians.
This finely carved marble tauroctony from Interamna features an unusual series of altars and ritual vases surrounding the scene.
Solis invicti Mithrae studiosus astrologiae who was at the same time ’caelo devotus et astris’.
Upon first examination, archaeologists interpreted the inscription on the cult vessel from Gradishje as referencing Mithras, though it has since been re-evaluated.
Red sandstone altar from Stockstadt, featuring a square cavity in the front that contained a fragment of crystal and a small lamp.
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.
