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The Nushijan Mithraeum testifies to the worship of Mithra in the region since before the Zoroastrian reform.
A philosophical study of Iranian civilization that explores its spiritual foundations, including the legacy of Mithraic and Zoroastrian traditions, in order to reflect on Iran’s historical continuity and civilizational meaning.
Roman relief from a sanctuary on the Janiculum Hill (Rome), showing a male figure bound by a serpent coiled seven times.
Procession of Leones carrying animals, bread, a krater, and other objects in preparation for a feast.
One of the rooms in a sustantive masonry building in Hollytrees Meadow was considered to be a Mithreum, a theory that has now been discarded.
This altar from Ptuj, present-day Poetovio, is decorated with various Mithraic animals such as a tortoise, a cock and a crow and other objects.
Jason Reza Jorjani, PhD, is a philosopher and author of Prometheus and Atlas, World State of Emergency, Lovers of Sophia, Novel Folklore: The Blind Owl of Sadegh Hedayat, and Iranian Leviathan: A Monumental History of Mithra's Abode.
In the eighteenth year of Diocletian’s reign, Galerius Maximianus, persuaded by the sorcerer Theoteknos, consulted demonic oracles in a cave and was urged to initiate the persecution of the Christians.
Scrutator of the customs of the Poetovio station, Theodorus erected an altar to Mithras following a vision.
At Rome’s twilight, amid political upheaval and Christian ascendancy, Vettius Agorius Praetextatus embodied pagan intellect, virtue, and authority across senatorial, military, and mystical spheres.
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.
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.
Moeller interprets the square as a Mithraic construction encoding cosmological, numerical, and theological structures of Roman mystery religion, rather than an early Christian cryptogram.
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.
Robert Turcan présente les dévotions immigrées dans le monde romain, sans négliger les cultes marginaux ou sporadiques, traitant également des courants gnostiques, occultistes et théosophiques.
