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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…
This magnificently illustrated publication renews the Mithraic dossier on the basis of concrete data, with caution and penetration. Marino's discovery is disconcerting and rekindles the controversy about the order in which bands should be read.
The tauroctonic relief from Dragus includes a naked flying figure that Vermaseren has identified as Phosporus or Lucifer.
Tracing the links between the cult of Mithras and the Proud Boys’ quest for identity, power, and belonging. How ancient rituals and brotherhood ideals resurface in radical modern movements.
The Mithraeum of the Seven Spheres (Sette Sfere) is of great importance for the understanding of the cult, because of its black-and-white mosaics depicting the planets, the zodiac and related elements.
The Mithraea in the territory of Arupium were first mentioned by Š. Ljubić in 1882.
Only parts of the knees of Mithras, emerging from the rock, have been preserved from this monument of Petronell-Carnuntum, Austria.
This monument to Mithras and Cautes (or Cautopates) was erected in Carnuntum by the centurion Flavius Verecundus of Savaria.
Mithras rock-born from Villa Giustiniani was holding a bunch of grapes in its raised right hand instead of a torch, probably due to a restoration.
This altar bears the oldest known Latin inscription to the god Mithras, written Mitrhe.
The Tauroctony relief of Mithras killing the bull walled in the Cortile of the Belvedered, Vatican City, was found by Fagan near Ostia.