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Algis Uždavinys presents philosophy as a sacred practice of inner rebirth, rooted in ancient Egyptian and traditional wisdom rather than a purely rational discipline.
By reading Orphic theology together with Eleusinian ritual practice, the mysteries emerge as a structured mystagogy of transformation: a disciplined passage from forgetfulness (Lethe) to knowledge (aletheia), from mortality to participation in the divine.
The Mithraeum of London, also known as the Walbrook Mithraeum, was contextualised and relocated to its original site in 2016.
Moeller interprets the square as a Mithraic construction encoding cosmological, numerical, and theological structures of Roman mystery religion, rather than an early Christian cryptogram.
The Mithraeum of Regensburg represents the earliest of the nine Mithraic sanctuaries so far documented in Bavaria, Germany.
For the first time, a Mithraeum has been discovered in Corsica, at the site of Mariana, Lucciana (Haute-Corse).
The Mithraeum of Angers, excavated during a preventive operation and subsequently dismantled in 2010, yielded numerous objects, including coins, oil lamps, and a ceramic vessel bearing a votive inscription to the invincible god Mithras.
The relief of Dieburg shows Mithras riding a horse as main figure, surrounded by several scenes of the myth.
These fragments of a cult relief of Mithras were found at the Mithraeum II of Ptuj, Slovenia.
This marble relief, found in Sisak, Croatia, shows Mithras killing the bull in a circle of corn ears, gods and some scenes from the Mithras myth.
The altar of Ptuj depicts Mithras and Sol on the front and the water miracle on the right side.
The relief of Mithras slaying the bull at Mauls in Gallia cisalpina is a paradigmatic example of the so-called Rhine-type Tauroctony.
This is one of the three reliefs depicting Mithras killing the bull that the Louvre Museum acquired from the Roman Villa Borghese collection.
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.
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.
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 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.
The Mithraic vase from Ballplatz in Mainz depicts seven figures arranged in two narrative sequences, commonly interpreted in relation to initiation rites.
