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He travelled to Juliomagus and engraved vases to the undefeated Sun Mithras for his brothers.
Priest. He devoted an inscription found on the main altar of the Mitreo della Planta Pedis.
Pater Patrum of Ostia, he officiated at the Mitreo Aldobrandini where he is mentioned in a couple of inscriptions.
He dedicated to the Emperor, for the worshipers of the god Mithras a sculpture in Stabiae.
Slave of the imperial family and dispensator who repaired an image of Mithras in Tibur, near Rome.
Freedman, he offered a relief of Mithras as a bull killer for the well-being of his two former masters in Apulum.
The Rusicade Mithraeum is notable for the absence of a tauroctony relief, instead yielding multiple altars and unusual installations including conduit pipes and a pine-cone shaped stone.
This altar dedicated to Sol Invictus Mithras by a certain Septimius Zosimus was found in the Basilica of San Martino ai Monti in Rome.
The Hekataion of Sidon, which depicts Hekate in her trimorphic form surrounded by three dancing girls, is the only example found to date in connection with the Mithraic cult.
The site was destroyed in the 5th century but some elements, including the benches, can still been seen.
The votive fresco from the Mithraeum Barberini displays several scenes from Mithras’s myth.
Limestone tauroctony relief from Carnuntum with traces of polychromy and a graffito on the bull’s neck. The inscribed base was carved separately.
A limestone lion holding a flowing urn, discovered at the entrance of the Mithraeum of Les Bolards, reflects the ritual significance of water within the cult of Mithras.
The temple of Mithras in Fertorakos was constructed by soldiers from the Carnuntum legion at the beginning of the 3rd century AD.
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.
A historical novel framed as the memoir of a Brittano-Roman soldier witnessing the end of Roman Britain. It explores identity, loyalty, and survival at the twilight of empire.
This article revisits the Mithraeum of S. Maria Capua Vetere, one of the most complete and artistically refined Mithraic sanctuaries in the Campanian region, situating it within its archaeological, iconographic, and ritual-historical contexts.
The Mithraeum of London, also known as the Walbrook Mithraeum, was contextualised and relocated to its original site in 2016.