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This plaque was found in Mithraeum I at Stockstadt broken into pieces inserted between the blocks of the socle of the cult relief, in the manner of a votive deposit.
In these two key passages, Justin Martyr interprets Mithraic rituals and myths as demonic parodies of Christ’s incarnation, the Eucharist, and biblical revelation.
White marble relief depicting Mithras as bull-slayer in a grotto from the Froehner collection, now in the Cabinet des Médailles, Paris.
Currently in the Musei Vaticani, this Tauroctony includes Mithras’s birth restored as Venus anaduomene.
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.
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.
Emperor Julian may have been initiated into the cult of the god Mithras at the Mithraeum of Vienne, France, according to Turcan.
Mithras being born from the rock (petrogenia), acquired in Rome and formerly kept in Berlin.
This tauroctony relief is distinguished by the rare depiction of Tellus reclining beneath the bull.
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…
Mithras, also known as Mitra or Mithra depending on the historical period, region, or language, is one of the oldest known Indo-Iranian divinities.
The bronze bears the dedication of a restoration of a Mithraeum carried out in 183.
Radcliffe G. Edmonds III analyses the absence of the moon in the Mithras Liturgy. He argues that this absence reflects a deliberate cosmological framework in which lunar powers linked to genesis are excluded from the ritual of ascent.
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.
A Roman centurion investigates a ritual murder and a deadly new weapon, the Fire of Mithras, from the alleys of Lutetia to the battle of Argentoratum.
