Mithraism, also known as the Mithraic mysteries, was a mystery religion centered around the god Mithras that was practised in the Roman Empire from about the 1st to the 4th century CE. The religion was inspired by Persian worship of the god Mithra (proto-Indo-Iranian Mitra), though the Greek Mithras was linked to a new and distinctive imagery, and the level of continuity between Persian and Greco-Roman practice is debated. The mysteries were popular in the Roman military.
Worshippers of Mithras had a complex system of seven grades of initiation and communal ritual meals. Initiates called themselves syndexioi, those "united by the handshake". They met in underground temples, called mithraea (singular mithraeum), which survive in large numbers. The cult appears to have had its centre in Rome.
Numerous archaeological finds, including meeting places, monuments and artifacts, have contributed to modern knowledge about Mithraism throughout the Roman Empire. The iconic scenes of Mithras show him being born from a rock, slaughtering a bull, and sharing a banquet with the god Sol (the Sun). About 420 sites have yielded materials related to the cult. Among the items found are about 1000 inscriptions, 700 examples of the bull-killing scene (tauroctony), and about 400 other monuments. It has been estimated that there would have been at least 680 mithraea in Rome. No written narratives or theology from the religion survive; limited information can be derived from the inscriptions and brief or passing references in Greek and Latin literature. Interpretation of the physical evidence remains problematic and contested.
The Romans regarded the mysteries as having Persian or Zoroastrian sources. Since the early 1970s the dominant scholarship has noted dissimilarities between Persian Mithra-worship and the Roman Mithraic mysteries. In this context, Mithraism has sometimes been viewed as a rival of early Christianity.
The term "Mithraism" is a modern convention. Writers of the Roman era referred to it by phrases such as "Mithraic mysteries", "mysteries of Mithras" or "mysteries of the Persians". Modern sources sometimes refer to the Greco-Roman religion as "Roman Mithraism" or "Western Mithraism" to distinguish it from Persian worship of Mithra.
The name Mithras (Latin, equivalent to Greek "Μίθρας",) is a form of Mithra, the name of an Old Persian god – a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.
The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archaeological evidence that in Latin worshippers wrote the nominative form of the god's name as "Mithras". However, in Porphyry's Greek text De Abstinentia (Περὶ ἀποχῆς ἐμψύχων), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.
Related deity-names in other languages include
Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity worshipped in several different religions. On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st century BCE, and to whom an old name was applied.
Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Empire Mithraism seems to have had less Iranian content than historians used to think, nonetheless "as the name Mithras alone shows, this content was of some importance".
Much about the cult of Mithras is only known from reliefs and sculptures. There have been many attempts to interpret this material.
Mithras-worship in the Roman Empire was characterized by images of the god slaughtering a bull. Other images of Mithras are found in the Roman temples, for instance Mithras banqueting with Sol, and depictions of the birth of Mithras from a rock. But the image of bull-slaying (tauroctony) is always in the central niche. Textual sources for a reconstruction of the theology behind this iconography are very rare. (See section Interpretations of the bull-slaying scene below.)
The practice of depicting the god slaying a bull seems to be specific to Roman Mithraism. According to David Ulansey, this is "perhaps the most important example" of evident difference between Iranian and Roman traditions: "... there is no evidence that the Iranian god Mithra ever had anything to do with killing a bull."
In every Mithraeum the centrepiece was a representation of Mithras killing a sacred bull, an act called the tauroctony.[A] The image may be a relief, or free-standing, and side details may be present or omitted. The centre-piece is Mithras clothed in Anatolian costume and wearing a Phrygian cap; who is kneeling on the exhausted bull, holding it by the nostrils with his left hand, and stabbing it with his right. As he does so, he looks over his shoulder towards the figure of Sol. A dog and a snake reach up towards the blood. A scorpion seizes the bull's genitals. A raven is flying around or is sitting on the bull. Three ears of wheat are seen coming out from the bull's tail, sometimes from the wound. The bull was often white. The god is sitting on the bull in an unnatural way with his right leg constraining the bull's hoof and the left leg is bent and resting on the bull's back or flank. The two torch-bearers are on either side, dressed like Mithras, Cautes with his torch pointing up and Cautopates with his torch pointing down. Sometimes Cautes and Cautopates carry shepherds' crooks instead of torches.
The event takes place in a cavern, into which Mithras has carried the bull, after having hunted it, ridden it and overwhelmed its strength. Sometimes the cavern is surrounded by a circle, on which the twelve signs of the zodiac appear. Outside the cavern, top left, is Sol the sun, with his flaming crown, often driving a quadriga. A ray of light often reaches down to touch Mithras. At the top right is Luna, with her crescent moon, who may be depicted driving a biga.
In some depictions, the central tauroctony is framed by a series of subsidiary scenes to the left, top and right, illustrating events in the Mithras narrative; Mithras being born from the rock, the water miracle, the hunting and riding of the bull, meeting Sol who kneels to him, shaking hands with Sol and sharing a meal of bull-parts with him, and ascending to the heavens in a chariot. In some instances, as is the case in the stucco icon at Santa Prisca mithraeum, the god is shown heroically nude. Some of these reliefs were constructed so that they could be turned on an axis. On the back side was another, more elaborate feasting scene. This indicates that the bull killing scene was used in the first part of the celebration, then the relief was turned, and the second scene was used in the second part of the celebration. Besides the main cult icon, a number of mithraea had several secondary tauroctonies, and some small portable versions, probably meant for private devotion, have also been found.
The second most important scene after the tauroctony in Mithraic art is the so-called banquet scene. The banquet scene features Mithras and Sol Invictus banqueting on the hide of the slaughtered bull. On the specific banquet scene on the Fiano Romano relief, one of the torchbearers points a caduceus towards the base of an altar, where flames appear to spring up. Robert Turcan has argued that since the caduceus is an attribute of Mercury, and in mythology Mercury is depicted as a psychopomp, the eliciting of flames in this scene is referring to the dispatch of human souls and expressing the Mithraic doctrine on this matter. Turcan also connects this event to the tauroctony: the blood of the slain bull has soaked the ground at the base of the altar, and from the blood the souls are elicited in flames by the caduceus.
Mithras is depicted as being born from a rock. He is shown as emerging from a rock, already in his youth, with a dagger in one hand and a torch in the other. He is nude, standing with his legs together, and is wearing a Phrygian cap.
However, there are variations. Sometimes he is shown as coming out of the rock as a child, and in one instance he has a globe in one hand; sometimes a thunderbolt is seen. There are also depictions in which flames are shooting from the rock and also from Mithras' cap. One statue had its base perforated so that it could serve as a fountain, and the base of another has the mask of the water god. Sometimes Mithras also has other weapons such as bows and arrows, and there are also animals such as dogs, serpents, dolphins, eagles, other birds, lion, crocodiles, lobsters and snails around. On some reliefs, there is a bearded figure identified as Oceanus, the water god, and on some there are the gods of the four winds. In these reliefs, the four elements could be invoked together. Sometimes Victoria, Luna, Sol and Saturn also seem to play a role. Saturn in particular is often seen handing over the dagger to Mithras so that he can perform his mighty deeds.
In some depictions, Cautes and Cautopates are also present; sometimes they are depicted as shepherds.
On some occasions, an amphora is seen, and a few instances show variations like an egg birth or a tree birth. Some interpretations show that the birth of Mithras was celebrated by lighting torches or candles.
One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head).
His body is a naked man’s, entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. On the figure from the Ostia Antica mithraeum (left, CIMRM 312), the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on his chest. At the base of the statue are the hammer and tongs of Vulcan and Mercury’s cock and wand (caduceus). A variation of the same figure, but with a human head instead of the lion-mask, is also found, but is rare.
Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, no exact parallel to the Mithraic leontocephaline figure has been found.
The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as CIMRM 222 from Ostia, CIMRM 369 from Rome, and CIMRM 1773 and 1775 from Pannonia.
Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman or Vedic Aryaman. There is also speculation that the figure is the Gnostic demiurge, Ialdabaoth. Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change. However an occultist, D. Jason Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's “adept” level, the Leo (lion) degree. 
According to M. J. Vermaseren, the Mithraic New Year and the birthday of Mithras was on December 25. However, Beck disagrees strongly. Clauss states: "the Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras." Mithraic initiates were required to swear an oath of secrecy and dedication, and some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers. An example of such a catechism, apparently pertaining to the Leo grade, was discovered in a fragmentary Egyptian papyrus (P.Berolinensis 21196), and reads:
Almost no Mithraic scripture or first-hand account of its highly secret rituals survives; with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont. The walls of Mithraea were commonly whitewashed, and where this survives it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts.
Nevertheless, it is clear from the archeology of numerous Mithraea that most rituals were associated with feasting – as eating utensils and food residues are almost invariably found. These tend to include both animal bones and also very large quantities of fruit residues. The presence of large amounts of cherry-stones in particular would tend to confirm mid-summer (late June, early July) as a season especially associated with Mithraic festivities. The Virunum album, in the form of an inscribed bronze plaque, records a Mithraic festival of commemoration as taking place on 26 June 184. Beck argues that religious celebrations on this date are indicative of special significance being given to the Summer solstice; but this time of the year coincides with ancient recognition of the solar maximum at midsummer, whilst iconographically identical holidays such as Litha, St John's Eve, and Jāņi are observed also.
For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum – typically there might be room for 15 to 30 diners, but very rarely many more than 40 men. Counterpart dining rooms, or triclinia, were to be found above ground in the precincts of almost any temple or religious sanctuary in the Roman empire, and such rooms were commonly used for their regular feasts by Roman 'clubs', or collegia. Mithraic feasts probably performed a very similar function for Mithraists as the collegia did for those entitled to join them; indeed, since qualification for Roman collegia tended to be restricted to particular families, localities or traditional trades, Mithraism may have functioned in part as providing clubs for the unclubbed. However, the size of the Mithraeum is not necessarily an indication of the size of the congregation.
Each Mithraeum had several altars at the further end, underneath the representation of the tauroctony, and also commonly contained considerable numbers of subsidiary altars, both in the main Mithraeum chamber and in the ante-chamber or narthex. These altars, which are of the standard Roman pattern, each carry a named dedicatory inscription from a particular initiate, who dedicated the altar to Mithras "in fulfillment of his vow", in gratitude for favours received. Burned residues of animal entrails are commonly found on the main altars indicating regular sacrificial use. However, Mithraea do not commonly appear to have been provided with facilities for ritual slaughter of sacrificial animals (a highly specialised function in Roman religion), and it may be presumed that a Mithraeum would have made arrangements for this service to be provided for them in co-operation with the professional victimarius of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred.
It is doubtful whether Mithraism had a monolithic and internally consistent doctrine. It may have varied from location to location. However, the iconography is relatively coherent. It had no predominant sanctuary or cultic centre; and, although each Mithraeum had its own officers and functionaries, there was no central supervisory authority. In some Mithraea, such as that at Dura Europos, wall paintings depict prophets carrying scrolls, but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that intitates could transfer with their grades from one Mithraeum to another.
Temples of Mithras are sunk below ground, windowless, and very distinctive. In cities, the basement of an apartment block might be converted; elsewhere they might be excavated and vaulted over, or converted from a natural cave. Mithraic temples are common in the empire; although unevenly distributed, with considerable numbers found in Rome, Ostia, Numidia, Dalmatia, Britain and along the Rhine/Danube frontier; while being somewhat less common in Greece, Egypt, and Syria. According to Walter Burkert, the secret character of Mithriac rituals meant that Mithraism could only be practiced within a Mithraeum. Some new finds at Tienen show evidence of large-scale feasting and suggest that the mystery religion may not have been as secretive as was generally believed.
For the most part, Mithraea tend to be small, externally undistinguished, and cheaply constructed; the cult generally preferring to create a new centre rather than expand an existing one. The Mithraeum represented the cave to which Mithras carried and then killed the bull; and where stone vaulting could not be afforded, the effect would be imitated with lath and plaster. They are commonly located close to springs or streams; fresh water appears to have been required for some Mithraic rituals, and a basin is often incorporated into the structure. There is usually a narthex or ante-chamber at the entrance, and often other ancillary rooms for storage and the preparation of food. The extant mithraea present us with actual physical remains of the architectural structures of the sacred spaces of the Mithraic cult. Mithraeum is a modern coinage and mithraists referred to their sacred structures as speleum or antrum (cave), crypta (underground hallway or corridor), fanum (sacred or holy place), or even templum (a temple or a sacred space).
In their basic form, mithraea were entirely different from the temples and shrines of other cults. In the standard pattern of Roman religious precincts, the temple building functioned as a house for the god, who was intended to be able to view through the opened doors and columnar portico, sacrificial worship being offered on an altar set in an open courtyard; potentially accessible not only to initiates of the cult, but also to colitores or non-initiated worshippers. Mithraea were the antithesis of this.
In the Suda under the entry Mithras, it states that “No one was permitted to be initiated into them (the mysteries of Mithras), until he should show himself holy and steadfast by undergoing several graduated tests.” Gregory Nazianzen refers to the “tests in the mysteries of Mithras”.
There were seven grades of initiation into Mithraism, which are listed by St. Jerome. Manfred Clauss states that the number of grades, seven, must be connected to the planets. A mosaic in the Mithraeum of Felicissimus, Ostia Antica depicts these grades, with symbolic emblems that are connected either to the grades or are symbols of the planets. The grades also have an inscription beside them commending each grade into the protection of the different planetary gods. In ascending order of importance, the initiatory grades were:
|Corax, Corux or Corvex (raven or crow)||beaker, caduceus||Mercury|
|Nymphus, Nymphobus (Bridegroom)||lamp, hand bell, veil, circlet or diadem||Venus|
|Miles (soldier)||pouch, helmet, lance, drum, belt, breastplate||Mars|
|Leo (lion)||batillum, sistrum, laurel wreath, thunderbolts||Jupiter|
|Perses (Persian)||hooked sword (harpe), Phrygian cap, sickle, sickle moon and stars, sling, pouch||Luna|
|Heliodromus (sun-runner)||torch, images of the sun god Helios, whip, robes||Sol|
|Pater (father)||patera, Mitre, shepherd's staff, garnet or ruby ring, chasuble or cape, elaborate robes, jewel encrusted with metallic threads||Saturn|
Elsewhere, as at Dura-Europos, Mithraic graffiti survive giving membership lists, in which initiates of a Mithraeum are named with their Mithraic grades. At Virunum, the membership list or album sacratorum was maintained as an inscribed plaque, updated year by year as new members were initiated. By cross-referencing these lists it is possible to track some initiates from one Mithraeum to another; and also speculatively to identify Mithraic initiates with persons on other contemporary lists such as military service rolls, of lists of devotees of non-Mithraic religious sanctuaries. Names of initiates are also found in the dedication inscriptions of altars and other cult objects. Clauss noted in 1990 that overall, only about 14% of Mithriac names inscribed before 250 CE identify the initiate's grade – and hence questioned the traditional view that all initiates belonged to one of the seven grades. Clauss argues that the grades represented a distinct class of priests, sacerdotes. Gordon maintains the former theory of Merkelbach and others, especially noting such examples as Dura where all names are associated with a Mithraic grade. Some scholars maintain that practice may have differed over time, or from one Mithraeum to another.
The highest grade, pater, is far the most common found on dedications and inscriptions – and it would appear not to have been unusual for a Mithraeum to have several men with this grade. The form pater patrum (father of fathers) is often found, which appears to indicate the pater with primary status. There are several examples of persons, commonly those of higher social status, joining a Mithraeum with the status pater – especially in Rome during the 'pagan revival' of the 4th century. It has been suggested that some Mithraea may have awarded honorary pater status to sympathetic dignitaries.
The initiate into each grade appears to have been required to undertake a specific ordeal or test, involving exposure to heat, cold or threatened peril. An 'ordeal pit', dating to the early 3rd century, has been identified in the Mithraeum at Carrawburgh. Accounts of the cruelty of the emperor Commodus describes his amusing himself by enacting Mithriac initiation ordeals in homicidal form. By the later 3rd century, the enacted trials appear to have been abated in rigor, as 'ordeal pits' were floored over.
Admission into the community was completed with a handshake with the pater, just as Mithras and Sol shook hands. The initiates were thus referred to as syndexioi (those united by the handshake). The term is used in an inscription by Proficentius and derided by Firmicus Maternus in De errore profanarum religionum, a 4th Century Christian work attacking paganism. In ancient Iran, taking the right hand was the traditional way of concluding a treaty or signifying some solemn understanding between two parties.
Activities of the most prominent deities in Mithraic scenes, Sol and Mithras, were imitated in rituals by the two most senior officers in the cult's hierarchy, the Pater and the Heliodromus. The initiates held a sacramental banquet, replicating the feast of Mithras and Sol.
Reliefs on a cup found in Mainz, appear to depict a Mithraic initiation. On the cup, the initiate is depicted as being led into a location where a Pater would be seated in the guise of Mithras with a drawn bow. Accompanying the initiate is a mystagogue, who explains the symbolism and theology to the initiate. The Rite is thought to re-enact what has come to be called the ‘Water Miracle’, in which Mithras fires a bolt into a rock, and from the rock now spouts water.
Roger Beck has hypothesized a third processional Mithraic ritual, based on the Mainz cup and Porphyrys. This scene, called ‘Procession of the Sun-Runner’, shows the Heliodromus escorted by two figures representing Cautes and Cautopates (see below) and preceded by an initiate of the grade Miles leading a ritual enactment of the solar journey around the mithraeum, which was intended to represent the cosmos.
Consequently, it has been argued that most Mithraic rituals involved a re-enactment by the initiates of episodes in the Mithras narrative, a narrative whose main elements were: birth from the rock, striking water from stone with an arrow shot, the killing of the bull, Sol's submission to Mithras, Mithras and Sol feasting on the bull, the ascent of Mithras to heaven in a chariot. A noticeable feature of this narrative (and of its regular depiction in surviving sets of relief carvings) is the absence of female personages (the sole exception being Luna watching the tauroctony in the upper corner opposite Helios).
The ancient scholar Porphyry refers to female initiates in Mithraic rites. However, the early 20th-century historian A. S. Geden writes that this may be due to a misunderstanding. According to Geden, while the participation of women in the ritual was not unknown in the Eastern cults, the predominant military influence in Mithraism makes it unlikely in this instance. It has recently been suggested by David Jonathan that "Women were involved with Mithraic groups in at least some locations of the empire."
Soldiers were strongly represented amongst Mithraists, and also merchants, customs officials and minor bureaucrats. Few, if any, initiates came from leading aristocratic or senatorial families until the 'pagan revival' of the mid-4th century; but there were always considerable numbers of freedmen and slaves.
Clauss suggests that a statement by Porphyry, that people initiated into the Lion grade must keep their hands pure from everything that brings pain and harm and is impure, means that moral demands were made upon members of congregations. A passage in the Caesares of Julian the Apostate refers to "commandments of Mithras". Tertullian, in his treatise 'On the Military Crown' records that Mithraists in the army were officially excused from wearing celebratory coronets on the basis of the Mithraic initiation ritual that included refusing a proffered crown, because "their only crown was Mithras".
According to the archaeologist Maarten Vermaseren, 1st century BCE evidence from Commagene demonstrates the "reverence paid to Mithras" but does not refer to "the mysteries". In the colossal statuary erected by King Antiochus I (69–34 BCE) at Mount Nemrut, Mithras is shown beardless, wearing a Phrygian cap (or the similar headdress, Persian tiara), in Iranian (Parthian) clothing, and was originally seated on a throne alongside other deities and the king himself. On the back of the thrones there is an inscription in Greek, which includes the name Apollo Mithras Helios in the genitive case (Ἀπόλλωνος Μίθρου Ἡλίου). Vermaseren also reports about a Mithras cult in 3rd century BCE. Fayum. R. D. Barnett has argued that the royal seal of King Saussatar of Mitanni from c. 1450 BCE. depicts a tauroctonous Mithras.
The origins and spread of the Mysteries have been intensely debated among scholars and there are radically differing views on these issues. According to Clauss mysteries of Mithras were not practiced until the 1st century CE. According to Ulansey, the earliest evidence for the Mithraic mysteries places their appearance in the middle of the 1st Century BCE: the historian Plutarch says that in 67 BCE the pirates of Cilicia (a province on the southeastern coast of Asia Minor) were practicing "secret rites" of Mithras. However, according to Daniels, whether any of this relates to the origins of the mysteries is unclear. The unique underground temples or Mithraea appear suddenly in the archaeology in the last quarter of the 1st century CE.
Inscriptions and monuments related to the Mithraic Mysteries are catalogued in a two volume work by Maarten J. Vermaseren, the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (or CIMRM). The earliest monument showing Mithras slaying the bull is thought to be CIMRM 593, found in Rome. There is no date, but the inscription tells us that it was dedicated by a certain Alcimus, steward of T. Claudius Livianus. Vermaseren and Gordon believe that this Livianus is a certain Livianus who was commander of the Praetorian guard in 101 CE, which would give an earliest date of 98–99 CE.
Five small terracotta plaques of a figure holding a knife over a bull have been excavated near Kerch in the Crimea, dated by Beskow and Clauss to the second half of the 1st Century BCE, and by Beck to 50 BCE–50 CE. These may be the earliest tauroctonies, if they are accepted to be a depiction of Mithras. The bull-slaying figure wears a Phrygian cap, but is described by Beck and Beskow as otherwise unlike standard depictions of the tauroctony. Another reason for not connecting these artifacts with the Mithraic Mysteries is that the first of these plaques was found in a woman's tomb.
An altar or block from near SS. Pietro e Marcellino on the Esquiline in Rome was inscribed with a bilingual inscription by an Imperial freedman named T. Flavius Hyginus, probably between 80–100 CE. It is dedicated to Sol Invictus Mithras.
CIMRM 2268 is a broken base or altar from Novae/Steklen in Moesia Inferior, dated 100 CE, showing Cautes and Cautopates.
Other early archaeology includes the Greek inscription from Venosia by Sagaris actor probably from 100–150 AD; the Sidon cippus dedicated by Theodotus priest of Mithras to Asclepius, 140–141 CE; and the earliest military inscription, by C. Sacidius Barbarus, centurion of XV Apollinaris, from the bank of the Danube at Carnuntum, probably before 114 CE.
According to C.M.Daniels, the Carnuntum inscription is the earliest Mithraic dedication from the Danube region, which along with Italy is one of the two regions where Mithraism first struck root. The earliest dateable Mithraeum outside Rome dates from 148 CE. The Mithraeum at Caesarea Maritima is the only one in Palestine and the date is inferred.
According to Roger Beck, the attested locations of the Roman cult in the earliest phase (circa 80 120 CE) are as follows:
Mithraea datable from pottery
According to Boyce, the earliest literary references to the mysteries are by the Latin poet Statius, about 80 AD, and Plutarch (c. 100 AD).
The Thebaid (c. 80 AD) an epic poem by Statius, pictures Mithras in a cave, wrestling with something that has horns. The context is a prayer to the god Phoebus. The cave is described as persei, which in this context is usually translated Persian; however, according to the translator J. H. Mozley it literally means Persean, referring to Perses, the son of Perseus and Andromeda, this Perses being the ancestor of the Persians according to Greek legend.
The Greek biographer Plutarch (46–127 AD) says that "secret mysteries ... of Mithras" were practiced by the pirates of Cilicia, the coastal province in the southeast of Anatolia, who were active in the 1st Century BCE: "They likewise offered strange sacrifices; those of Olympus I mean; and they celebrated certain secret mysteries, among which those of Mithras continue to this day, being originally instituted by them." He mentions that the pirates were especially active during the Mithridatic wars (between the Roman Republic and King Mithridates VI of Pontus) in which they supported the king. The association between Mithridates and the pirates is also mentioned by the ancient historian Appian. The 4th century commentary on Vergil by Servius says that Pompey settled some of these pirates in Calabria in southern Italy.
The historian Dio Cassius (2nd to 3rd century AD) tells how the name of Mithras was spoken during the state visit to Rome of Tiridates I of Armenia, during the reign of Nero. (Tiridates was the son of Vonones II of Parthia, and his coronation by Nero in 66 AD confirmed the end of a war between Parthia and Rome.) Dio Cassius writes that Tiridates, as he was about to receive his crown, told the Roman emperor that he revered him "as Mithras". Roger Beck thinks it possible that this episode contributed to the emergence of Mithraism as a popular religion in Rome.
The philosopher Porphyry (3rd–4th century AD) gives an account of the origins of the Mysteries in his work De antro nympharum (The Cave of the Nymphs). Citing Eubulus as his source, Porphyry writes that the original temple of Mithras was a natural cave, containing fountains, which Zoroaster found in the mountains of Persia. To Zoroaster, this cave was an image of the whole world, so he consecrated it to Mithras, the creator of the world. Later in the same work, Porphyry links Mithras and the bull with planets and star-signs: Mithras himself is associated with the sign of Aries and the planet Mars, while the bull is associated with Venus.
Porphyry is writing close to the demise of the cult, and Robert Turcan has challenged the idea that Porphyry's statements about Mithraism are accurate. His case is that far from representing what Mithraists believed, they are merely representations by the Neoplatonists of what it suited them in the late 4th century to read into the mysteries. However, Merkelbach and Beck believe that Porphyry’s work "is in fact thoroughly coloured with the doctrines of the Mysteries". Beck holds that classical scholars have neglected Porphyry’s evidence and have taken an unnecessarily skeptical view of Porphyry. According to Beck, Porphyry's De antro is the only clear text from antiquity which tells us about the intent of the Mithriac Mysteries and how that intent was realized. David Ulansey finds it important that Porphyry "confirms ... that astral conceptions played an important role in Mithraism."
In later antiquity, the Greek name of Mithras (Μίθρας ) occurs in the text known as the "Mithras Liturgy", a part of the Paris Greek Magical Papyrus (Paris Bibliothèque Nationale Suppl. gr. 574); here Mithras is given the epithet "the great god", and is identified with the sun god Helios. There have been different views among scholars as to whether this text is an expression of Mithraism as such. Franz Cumont argued that it isn’t; Marvin Meyer thinks it is; while Hans Dieter Betz sees it as a synthesis of Greek, Egyptian, and Mithraic traditions.
Scholarship on Mithras begins with Franz Cumont, who published a two volume collection of source texts and images of monuments in French in 1894 1900, Textes et monuments figurés relatifs aux mystères de Mithra [French: Texts and Illustrated Monuments Relating to the Mysteries of Mithra]. An English translation of part of this work was published in 1903, with the title The Mysteries of Mithra. Cumont’s hypothesis, as the author summarizes it in the first 32 pages of his book, was that the Roman religion was "the Roman form of Mazdaism", the Persian state religion, disseminated from the East. He identified the ancient Aryan deity who appears in Persian literature as Mithras with the Hindu god Mitra of the Vedic hymns. According to Cumont, the god Mithra came to Rome "accompanied by a large representation of the Mazdean Pantheon". Cumont considers that while the tradition "underwent some modification in the Occident ... the alterations that it suffered were largely superficial".
Cumont’s theories came in for severe criticism from John R. Hinnells and R.L. Gordon at the First International Congress of Mithraic Studies held in 1971. John Hinnells was unwilling to reject entirely the idea of Iranian origin, but wrote: "we must now conclude that his reconstruction simply will not stand. It receives no support from the Iranian material and is in fact in conflict with the ideas of that tradition as they are represented in the extant texts. Above all, it is a theoretical reconstruction which does not accord with the actual Roman iconography." He discussed Cumont’s reconstruction of the bull-slaying scene and stated "that the portrayal of Mithras given by Cumont is not merely unsupported by Iranian texts but is actually in serious conflict with known Iranian theology." Another paper by R.L. Gordon argued that Cumont severely distorted the available evidence by forcing the material to conform to his predetermined model of Zoroastrian origins. Gordon suggested that the theory of Persian origins was completely invalid and that the Mithraic mysteries in the West was an entirely new creation.
A similar view has been expressed by Luther H. Martin: "Apart from the name of the god himself, in other words, Mithraism seems to have developed largely in and is, therefore, best understood from the context of Roman culture."
However, according to Hopfe, "All theories of the origin of Mithraism acknowledge a connection, however vague, to the Mithra/Mitra figure of ancient Aryan religion." Reporting on the Second International Congress of Mithraic Studies, 1975, Ugo Bianchi says that although he welcomes "the tendency to question in historical terms the relations between Eastern and Western Mithraism", it "should not mean obliterating what was clear to the Romans themselves, that Mithras was a ‘Persian’ (in wider perspective: an Indo-Iranian) god."
Boyce states that "no satisfactory evidence has yet been adduced to show that, before Zoroaster, the concept of a supreme god existed among the Iranians, or that among them Mithra – or any other divinity – ever enjoyed a separate cult of his or her own outside either their ancient or their Zoroastrian pantheons." However, she also says that although recent studies have minimized the Iranizing aspects of the self-consciously Persian religion "at least in the form which it attained under the Roman Empire", the name Mithras is enough to show "that this aspect is of some importance". She also says that "the Persian affiliation of the Mysteries is acknowledged in the earliest literary references to them."
Beck tells us that since the 1970s scholars have generally rejected Cumont, but adds that recent theories about how Zoroastrianism was during the period BCE now make some new form of Cumont’s east-west transfer possible. He says that
"... an indubitable residuum of things Persian in the Mysteries and a better knowledge of what constituted actual Mazdaism have allowed modern scholars to postulate for Roman Mithraism a continuing Iranian theology. This indeed is the main line of Mithraic scholarship, the Cumontian model which subsequent scholars accept, modify, or reject. For the transmission of Iranian doctrine from East to West, Cumont postulated a plausible, if hypothetical, intermediary: the Magusaeans of the Iranian diaspora in Anatolia. More problematic – and never properly addressed by Cumont or his successors – is how real-life Roman Mithraists subsequently maintained a quite complex and sophisticated Iranian theology behind an occidental facade. Other than the images at Dura of the two ‘magi’ with scrolls, there is no direct and explicit evidence for the carriers of such doctrines. ... Up to a point, Cumont’s Iranian paradigm, especially in Turcan’s modified form, is certainly plausible."
He also says that "the old Cumontian model of formation in, and diffusion from, Anatolia ... is by no means dead – nor should it be."
Beck theorizes that the cult was created in Rome, by a single founder who had some knowledge of both Greek and Oriental religion, but suggests that some of the ideas used may have passed through the Hellenistic kingdoms. He observes that "Mithras – moreover, a Mithras who was identified with the Greek Sun god Helios" was among the gods of the syncretic Greco-Armenian-Iranian royal cult at Nemrut, founded by Antiochus I of Commagene in the mid 1st century BCE. While proposing the theory, Beck says that his scenario may be regarded as Cumontian in two ways. Firstly, because it looks again at Anatolia and Anatolians, and more importantly, because it hews back to the methodology first used by Cumont.
Merkelbach suggests that its mysteries were essentially created by a particular person or persons and created in a specific place, the city of Rome, by someone from an eastern province or border state who knew the Iranian myths in detail, which he wove into his new grades of initiation; but that he must have been Greek and Greek-speaking because he incorporated elements of Greek Platonism into it. The myths, he suggests, were probably created in the milieu of the imperial bureaucracy, and for its members. Clauss tends to agree. Beck calls this "the most likely scenario" and states "Until now, Mithraism has generally been treated as if it somehow evolved Topsy-like from its Iranian precursor – a most implausible scenario once it is stated explicitly."
Archaeologist Lewis M. Hopfe notes that there are only three Mithraea in Roman Syria, in contrast to further west. He writes: "Archaeology indicates that Roman Mithraism had its epicenter in Rome ... the fully developed religion known as Mithraism seems to have begun in Rome and been carried to Syria by soldiers and merchants."
Taking a different view from other modern scholars, Ulansey argues that the Mithraic mysteries began in the Greco-Roman world as a religious response to the discovery by the Greek astronomer Hipparchus of the astronomical phenomenon of the precession of the equinoxes – a discovery that amounted to discovering that the entire cosmos was moving in a hitherto unknown way. This new cosmic motion, he suggests, was seen by the founders of Mithraism as indicating the existence of a powerful new god capable of shifting the cosmic spheres and thereby controlling the universe.
The first important expansion of the mysteries in the Empire seems to have happened quite quickly, late in the reign of Antoninus Pius (b. 121 CE, d. 180 CE) and under Marcus Aurelius. By this time all the key elements of the mysteries were in place.
Mithraism reached the apogee of its popularity during the 2nd and 3rd centuries, spreading at an "astonishing" rate at the same period when the worship of Sol Invictus was incorporated into the state-sponsored cults. At this period a certain Pallas devoted a monograph to Mithras, and a little later Euboulus wrote a History of Mithras, although both works are now lost. According to the 4th century Historia Augusta, the emperor Commodus participated in its mysteries but it never became one of the state cults.
The historian Jacob Burckhardt writes:
Mithras is the guide of souls which he leads from the earthly life into which they had fallen back up to the light from which they issued ... It was not only from the religions and the wisdom of Orientals and Egyptians, even less from Christianity, that the notion that life on earth was merely a transition to a higher life was derived by the Romans. Their own anguish and the awareness of senescence made it plain enough that earthly existence was all hardship and bitterness. Mithras-worship became one, and perhaps the most significant, of the religions of redemption in declining paganism.
It is difficult to trace when the cult of Mithras came to an end. Beck states that "Quite early in the [fourth] century the religion was as good as dead throughout the empire." Inscriptions from the 4th century are few. Clauss states that inscriptions show Mithras as one of the cults listed on inscriptions by Roman senators who had not converted to Christianity, as part of the "pagan revival" among the elite. Ulansey holds that "Mithraism declined with the rise to power of Christianity, until the beginning of the fifth century, when Christianity became strong enough to exterminate by force rival religions such as Mithraism." According to Speidel, Christians fought fiercely with this feared enemy and suppressed it during the 4th century. Some Mithraic sanctuaries were destroyed and religion was no longer a matter of personal choice. According to Luther H. Martin, Roman Mithraism came to an end with the anti-pagan decrees of the Christian emperor Theodosius during the last decade of the 4th century.
At some of the mithraeums that have been found below churches, for example the Santa Prisca mithraeum and the San Clemente mithraeum, the ground plan of the church above was made in a way to symbolize Christianity's domination of Mithraism. According to Mark Humphries, the deliberate concealment of Mithraic cult objects in some areas suggests that precautions were being taken against Christian attacks. However, in areas like the Rhine frontier, purely religious considerations cannot explain the end of Mithraism, and barbarian invasions may also have played a role.
There is virtually no evidence for the continuance of the cult of Mithras into the 5th century. In particular, large numbers of votive coins deposited by worshippers have been recovered at the Mithraeum at Pons Sarravi (Sarrebourg) in Gallia Belgica, in a series that runs from Gallienus (253–268) to Theodosius I (379–395). These were scattered over the floor when the Mithraeum was destroyed, as Christians apparently regarded the coins as polluted, and therefore provide reliable dates for the functioning of the Mithraeum. It cannot be shown that any Mithraeum continued in use in the 5th century. The coin series in all Mithraea end at the end of the 4th century at the latest. The cult disappeared earlier than that of Isis. Isis was still remembered in the Middle Ages as a pagan deity, but Mithras was already forgotten in late antiquity.
Franz Cumont stated in his book that Mithraism may have survived in certain remote cantons of the Alps and Vosges into the 5th century.
"John, the Lord Chamberlain", a 1999-2014 series of historical mystery novels, depicts a secret Mithraist community still active in Justinian's court, but there is no historical evidence for such a late survival of the religion.
According to Cumont, the imagery of the tauroctony was a Graeco-Roman representation of an event in Zoroastrian cosmogony described in a 9th-century AD Zoroastrian text, the Bundahishn. In this text the evil spirit Ahriman (not Mithra) slays the primordial creature Gavaevodata, which is represented as a bovine. Cumont held that a version of the myth must have existed in which Mithras, not Ahriman, killed the bovine. But according to Hinnells, no such variant of the myth is known, and that this is merely speculation: "In no known Iranian text [either Zoroastrian or otherwise] does Mithra slay a bull."
David Ulansey finds astronomical evidence from the mithraeum itself. He reminds us that the Platonic writer Porphyry wrote in the 3rd century AD that the cave-like temple Mithraea depicted "an image of the world" and that Zoroaster consecrated a cave resembling the world fabricated by Mithras. The ceiling of the Caesarea Maritima Mithraeum retains traces of blue paint, which may mean the ceiling was painted to depict the sky and the stars.
Beck has given the following celestial anatomy of the Tauroctony:
|Component of Tauroctony||Celestial counterpart|
|Dog||Canis Minor, Canis Major|
|Snake||Hydra, Serpens, Draco|
|Wheat's ear (on bull's tail)||Spica|
|Twins Cautes and Cautopates||Gemini|
Several celestial identities for the Tauroctonous Mithras (TM) himself have been proposed. Beck summarizes them in the table below.
|Bausani, A. (1979)||TM associated with Leo, in that the tauroctony is a type of the ancient lion–bull (Leo–Taurus) combat motif.|
|Beck, R. L. (1994)||TM = Sun in Leo|
|Insler, S. (1978)||bull-killing = heliacal setting of Taurus|
|Jacobs, B. (1999)||bull-killing = heliacal setting of Taurus|
|North, J. D. (1990)||TM = Betelgeuse (Alpha Orionis) setting, his knife = Triangulum setting, his mantle = Capella (Alpha Aurigae) setting.|
|Rutgers, A. J. (1970)||TM = Sun, Bull = Moon|
|Sandelin, K.-G. (1988)||TM = Auriga|
|Speidel, M. P. (1980)||TM = Orion|
|Ulansey, D. (1989)||TM = Perseus|
|Weiss, M. (1994, 1998)||TM = the Night Sky|
Ulansey has proposed that Mithras seems to have been derived from the constellation of Perseus, which is positioned just above Taurus in the night sky. He sees iconographic and mythological parallels between the two figures: both are young heroes, carry a dagger, and wear a Phrygian cap. He also mentions the similarity of the image of Perseus killing the Gorgon and the tauroctony, both figures being associated with underground caverns and both having connections to Persia as further evidence.
Michael Speidel associates Mithras with the constellation of Orion because of the proximity to Taurus, and the consistent nature of the depiction of the figure as having wide shoulders, a garment flared at the hem, and narrowed at the waist with a belt, thus taking on the form of the constellation.
Beck has criticized Speidel and Ulansey of adherence to a literal cartographic logic, describing their theories as a "will-o'-the-wisp" that "lured them down a false trail". He argues that a literal reading of the tauroctony as a star chart raises two major problems: it is difficult to find a constellation counterpart for Mithras himself (despite efforts by Speidel and Ulansey) and that, unlike in a star chart, each feature of the tauroctony might have more than a single counterpart. Rather than seeing Mithras as a constellation, Beck argues that Mithras is the prime traveller on the celestial stage (represented by the other symbols of the scene), the Unconquered Sun moving through the constellations. But again, Meyer holds that the Mithras Liturgy reflects the world of Mithraism and may be a confirmation for Ulansey's theory of Mithras being held responsible for the precession of equinoxes.
The cult of Mithras was part of the syncretic nature of ancient Roman religion. Almost all Mithraea contain statues dedicated to gods of other cults, and it is common to find inscriptions dedicated to Mithras in other sanctuaries, especially those of Jupiter Dolichenus. Mithraism was not an alternative to Rome's other traditional religions, but was one of many forms of religious practice, and many Mithraic initiates can also be found participating in the civic religion, and as initiates of other mystery cults.
Early Christian apologists noted similarities between Mithraic and Christian rituals, but nonetheless took an extremely negative view of Mithraism: they interpreted Mithraic rituals as evil copies of Christian ones. For instance, Tertullian wrote that as a prelude to the Mithraic initiation ceremony, the initiate was given a ritual bath and at the end of the ceremony, received a mark on the forehead. He described these rites as a diabolical counterfeit of the baptism and chrismation of Christians. Justin Martyr contrasted Mithraic initiation communion with the Eucharist:
Wherefore also the evil demons in mimicry have handed down that the same thing should be done in the Mysteries of Mithras. For that bread and a cup of water are in these mysteries set before the initiate with certain speeches you either know or can learn.
Ernest Renan suggested in 1882 that, under different circumstances, Mithraism might have risen to the prominence of modern-day Christianity. Renan wrote: "If the growth of Christianity had been arrested by some mortal malady, the world would have been Mithraic…" However, this theory has since been contested. Leonard Boyle wrote in 1987 that "too much ... has been made of the 'threat' of Mithraism to Christianity," pointing out that there are only fifty known mithraea in the entire city of Rome. J. Alvar Ezquerra holds that since the two religions did not share similar aims, there was never any real threat of Mithraism taking over the Roman world.
According to Mary Boyce, Mithraism was a potent enemy for Christianity in the West, though she is sceptical about its hold in the East. Filippo Coarelli (1979) has tabulated forty actual or possible Mithraea and estimated that Rome would have had "not less than 680–690" mithraea. Lewis M. Hopfe states that more than 400 Mithraic sites have been found. These sites are spread all over the Roman empire from places as far as Dura Europos in the east, and England in the west. He, too, says that Mithraism may have been a rival of Christianity. David Ulansey thinks Renan's statement "somewhat exaggerated", but does consider Mithraism "one of Christianity's major competitors in the Roman Empire". Ulansey sees the study of Mithraism as important for understanding "the cultural matrix out of which the Christian religion came to birth".
The term "Mithraism" is of course a modern coinage. In antiquity the cult was known as "the mysteries of Mithras"; alternatively, as "the mysteries of the Persians." ... The Mithraists, who were manifestly not Persians in any ethnic sense, thought of themselves as cultic "Persians." ... the ancient Roman Mithraists themselves were convinced that their cult was founded by none other than Zoroaster, who "dedicated to Mithras, the creator and father of all, a cave in the mountains bordering Persia," an idyllic setting "abounding in flowers and springs of water" (Porphyry, On the Cave of the Nymphs 6).
Porphyry moreover seems to be the only writer who makes reference to women initiates into the service and rites of Mithra, and his allusion is perhaps due to a misunderstanding.... The participation of women in the ritual was not unknown in the Eastern cults, but the predominant military influence in Mithraism seems to render it unlikely in this instance.
We know a good deal about them because archaeology has disinterred many meeting places together with numerous artifacts and representations of the cult myth, mostly in the form of relief sculpture.
A useful topographic survey, with map, by F. Coarelli (1979) lists 40 actual or possible mithraea (the latter inferred from find-spots, with the sensible proviso that a mithraeum will not necessarily correspond to every find). Principally from comparisons of size and population with Ostia, Coarelli calculates that there will have been in Rome "not less than 680–690" mithraea in all ... .
However, in the absence of any ancient explanations of its meaning, Mithraic iconography has proven to be exceptionally difficult to decipher.
Today more than four hundred locations of Mithraic worship have been identified in every area of the Roman Empire. Mithraea have been found as far west as Britain and as far east as Dura Europas. Between the second and fourth centuries C.E. Mithraism may have vied with Christianity for domination of the Roman world.
The Electronic Journal of Mithraic Studies (EJMS) is a revival of the Journal of Mithraic Studies edited by Dr. Richard Gordon. It is a place where researchers on Roman Mithraism can publish the product of their research and make it freely available for other interested people.
For most of the twentieth century the major problem addressed by scholarship on both Roman Mithraism and the Iranian god Mithra was the question of continuity.
It is therefore highly likely that it was in the context of Mithridates’ alliance with the Cilician pirates that there arose the synchretistic link between Perseus and Mithra which led to the name Mithras (a Greek form of the name Mithra) being given to the god of the new cult.
... Mithra is the next most important deity and may even have occupied a position of near equality with Ahura Mazde. He was associated with the Sun, and in time the name Mithra became a common word for "Sun". Mithra functioned preeminently in the ethical sphere; he was the god of the covenant, who oversaw all solemn agreements that people made among themselves ... In later times Mithra gave his name to Mithraism, a mystery religion.
Cumont’s ... argument was straightforward and may be summarized succinctly: the name of the god of the cult, Mithras, is the Latin (and Greek) form of the name of an ancient Iranian god, Mithra; in addition, the Romans believed that their cult was connected with Persia (as the Romans called Iran); therefore we may assume that Roman Mithraism is nothing other than the Iranian cult of Mithra transplanted into the Roman Empire.
India's sacred literature refers to him since the hymns of the Rig Veda. But it was in Iran where Mithras rose to the greatest prominence: rebounding after the reforms of Zarathustra, Mithras became one of the great gods of the Achaemenian emperors and to this very day he is worshipped in India and Iran by Parsees and Zarathustrians.
All theories of the origin of Mithraism acknowledge a connection, however vague, to the Mithra / Mitra figure of ancient Aryan religion.
The name Mithras comes from a root mei- (which implies the idea of exchange), accompanied by an instrumental suffix. It was therefore a means of exchange, the ‘contract’ which rules human relations and is the basis of social life. In Sanskrit, mitra means 'friend' or ‘friendship’, like mihr in Persian. In Zend, mithra means precisely the ‘contract’, which eventually became deified, following the same procedure as Venus, the ‘charm’ for the Romans. We find him invoked with Varuna in an agreement concluded c. 1380 BCE between the king of the Hittites, Subbiluliuma, and the king of Mitanni, Mativaza. ... It is the earliest evidence of Mithras in Asia Minor.
The god is unique in being worshipped in four distinct religions: Hinduism (as Mitra), in Iranian Zoroastrianism and Manicheism (as Mithra), and in the Roman Empire (as Mithras).
the intimate alliance between the pirates and Mithridates Eupator, named after Mithra and mythically descended from Perseus, led to the pirates adopting the name Mithras for the new god.
The theory that the complex iconography of the characteristic monuments (of which the oldest belong to the second century A.C.) could be interpreted by direct reference to Iranian religion is now widely rejected; and recent studies have tended greatly to reduce what appears to be the actual Iranian content of this "self consciously ‘Persian’ religion", at least in the form which it attained under the Roman empire. Nevertheless, as the name Mithras alone shows, this content was of some importance; and the Persian affiliation of the Mysteries is acknowledged in the earliest literary reference to them.
The god's right leg, appearing on the left as one faces the tauroctony, is nearly always straight as it pins the bull's hoof to the ground, while his left leg, which is usually resting on the back or flank of the bull, is bent at the knee with his foot often partially obscured beneath the folds of his tunic. Anyone familiar with the cult's iconography will immediately recognize this awkward and possibly unnatural posture as a typical or even essential aspect of the tauroctony. The remarkable consistency of this particular feature is underscored by comparison with the subtle variability of others...
He is wearing a Phrygian cap and a wind-filled cloak, and, most remarkable of all, his head is turned in the other direction as if he would not look at his own deed. Still, this sacrifice is a guarantee of salvation for the participants.
The figure of Mithras himself is usually attired in an oriental costume of Phrygian cap, tunica manicata (a long-sleeved tunic), anaxyrides (eastern style trousers), and a cape, though in some cases, he is depicted heroically nude or even, in a unique example from Ostia, in what seems to be a Greek chiton. Like the general trend in Graeco-Roman art, most if not all tauroctony scenes, regardless of the medium they were executed in, were painted, and the different items of Mithras' clothing was usually colored in either blue or red, often, as in the painting at Marino, with most of the costume in red with only the inside of the cape being blue and star-speckled. The bull was often white, sometimes wearing the dorsuale, the Roman sacrificial band in reds or browns, while the torchbearers could be depicted in a variety of colors with reds and greens being the most common.
Often, the mithraeum was embellished elsewhere with secondary exemplars of the tauroctony, and there also seem to have been small portable versions, perhaps for private devotion.
According to some, the lion man is Aion (Zurvan, or Kronos); according to others, Ahriman.
The statue is a representation of the Leo degree, internalized.
One should bear in mind that the Mithraic New Year began on Natalis Invicti, the birthday of their invincible god, i.e., December 25th, when the new light ...... appears from the vault of heaven.
For a time, coins and other monuments continued to link Christian doctrines with the worship of the Sun, to which Constantine had been addicted previously. But even when this phase came to an end, Roman paganism continued to exert other, permanent influences, great and small....The ecclesiastical calendar retains numerous remnants of pre-Christian festivals—notably Christmas, which blends elements including both the feast of the Saturnalia and the birthday of Mithra.
The original editor of the text, Albrecht Dieterich, claimed that it recorded an authentic Mithraic ritual, but this claim was rejected by Cumont, who felt that the references to Mithras in the text were merely the result of an extravagant syncretism evident in magical traditions. Until recently, most scholars followed Cumont in refusing to see any authentic Mithraic doctrine in the Mithras Liturgy.
The discovery of a large quantity of tableware as well as animal remains in a pit outside the newly excavated mithraeum at Tienen, Belgium, has also attracted new attention to the topic of Mithraic processions and large-scale feasts, begging a re-examination of the secrecy of the cult and its visibility in local society...provides evidence for large-scale, semi-public feasts outside of the mithraeum itself, suggesting that each mithraeum might have had a far larger following than its relative size would imply.
Nevertheless, the fact that Porphyry and/or his sources would have had no scruples about adapting or even inventing Mithraic data to suit their arguments does not necessarily mean that they actually did so. It is far more likely that Mithraic doctrine (in the weak sense of the term!) really was what the philosophers said it was... there are no insuperable discrepancies between Mithraic practice and theory as attested in Porphyry and Mithraic practice and theory as archaeology has allowed us to recover them. Even if there were major discrepancies, they would matter only in the context of the old model of an internally consistent and monolithic Mithraic doctrine., p.87.
The extant mithraea present us with actual physical remains of the architectural structures of the sacred spaces of the Mithraic cult. While the Mithraists themselves never used the word mithraeum as far as we know, but preferred words like speleum or antrum (cave), crypta (underground hallway or corridor), fanum (sacred or holy place), or even templum (a temple or a sacred space), the word mithraeum is the common appellation in Mithraic scholarship and is used throughout this study
Taking the right hand is the old Iranian form of a promise of allegiance, ...
Whilst the majority of the Oriental cults accorded to women a considerable role in their churches, and sometimes even a preponderating one, finding in them ardent supporters of the faith, Mithra forbade their participation in his Mysteries and so deprived himself of the incalculable assistance of these propagandists. The rude discipline of the order did not permit them to take the degrees in the sacred cohorts, and, as among the Mazdeans of the Orient, they occupied only a secondary place in the society of the faithful. Among the hundreds of inscriptions that have come down to us, not one mentions either a priestess, a woman initiate, or even a donatress.
...Moreover, not a single woman is listed: the repeated attempts to show that women might belong to the cult are wishful thinking (Piccottini, 1994).
Other early evidence of the first decades BCE refers only to the reverence paid to Mithras without mentioning the mysteries: examples which may be quoted are the tomb inscriptions of King Antiochus I of Commagene at Nemrud Dagh, and of his father Mithridates at Arsameia on the Orontes. Both the kings had erected on vast terraces a number of colossal statues seated on thrones to the honour of their ancestral gods. At Nemrud we find in their midst King Antiochus (69–34 BCE and in the inscription Mithras is mentioned ...
Head of a beardless Mithras in Phrygian cap, point of which is missing.
The gods are represented in a sitting position on a throne and are: Apollo-Mithras (see below); Tyche-Commagene; Zeus-Ahura-Mazda; Antiochus himself and finally Ares-Artagnes.
According to Vermaseren, there was a Mithras cult in the Fayum in the third century BC, and according to Pettazzoni the figure of Aion has its iconographic origin in Egypt.
I ... see these figures or some of them in the impression of the remarkable royal seal of King Saussatar of Mitanni (circa 1450 BCE great-great-grandfather of Kurtiwaza), the only royal Mitannian seal that we possess ... Mithra-tauroctonos, characteristically kneeling on the bull to despatch it. We can even see also the dog and snake ... below him are twin figures, one marked by a star, each fighting lions ... below a winged disc between lions and ravens, stands a winged, human-headed lion, ...
The origins and spread of the Mysteries are matters of perennial debate among scholars of the cult.
Our earliest evidence for the Mithraic mysteries places their appearance in the middle of the 1st Century BCE: the historian Plutarch says that in 67 BCE a large band of pirates based in Cilicia (a province on the southeastern coast of Asia Minor) were practicing "secret rites of Mithras". The earliest physical remains of the cult date from around the end of the 1st Century CE, and Mithraism reached its height of popularity in the third century.
... the Persian affiliation of the Mysteries is acknowledged in the earliest literary reference to them. This is by the Latin poet Statius who, writing about 80 CE., described Mithras as one who "twists the unruly horns beneath the rocks of a Persian cave". Only a little later (c. 100 CE.) Plutarch attributed an Anatolian origin to the Mysteries, for according to him the Cilician pirates whom Pompey defeated in 67 BCE. "celebrated certain secret rites, amongst which those of Mithras continue to the present time, having been first instituted by them".
In the Cumontian scenario this episode cannot mark the definitive moment of transfer, for Mithraism in that scenario was already established in Rome, albeit on a scale too small to have left any trace in the historical or archaeological record. Nevertheless, it could have been a spur to Mithraism’s emergence on to the larger stage of popular appeal.
De antro 6 is actually the sole explicit testimony from antiquity as to the intent of Mithraism’s mysteries and the means by which that intent was realized. Porphyry, moreover, was an intelligent and well-placed theoretician of contemporary religion, with access to predecessors’ studies, now lost.
Franz Cumont, one of the greatest students of Mithraism, theorized that the roots of the Roman mystery religion were in ancient Iran. He identified the ancient Aryan deity who appears in Persian literature as Mithras with the Hindu god Mitra of the Vedic hymns.
In the course of the First International Congress, two scholar in particular presented devastating critiques of Cumont's Iranian hypothesis ... One, John Hinnells, was the organizer of the conference ... Of more importance in the long run, however, was the even more radical paper presented by R.L.Gordon ...
I welcome the present tendency to question in historical terms the relations between Eastern and Western Mithraism, which should not mean obliterating what was clear to the Romans themselves, that Mithras was a ‘Persian’ (in wider perspective: an Indo-Iranian) god.
... an indubitable residuum of things Persian in the Mysteries and a better knowledge of what constituted actual Mazdaism have allowed modern scholars to postulate for Roman Mithraism a continuing Iranian theology. This indeed is the main line of Mithraic scholarship, the Cumontian model which subsequent scholars accept, modify, or reject. For the transmission of Iranian doctrine from East to West, Cumont postulated a plausible, if hypothetical, intermediary: the Magusaeans of the Iranian diaspora in Anatolia. More problematic, and never properly addressed by Cumont or his successors, is how real-life Roman Mithraists subsequently maintained a quite complex and sophisticated Iranian theology behind an occidental facade. Other than the images at Dura of the two ‘magi’ with scrolls, there is no direct and explicit evidence for the carriers of such doctrines. ... Up to a point, Cumont’s Iranian paradigm, especially in Turcan’s modified form, is certainly plausible.
The study of the ancient mystery cult of Mithraism has been heavily influenced over the last century by the pioneering work of Franz Cumont followed by that of M. J. Vermaseren. Ever since Cumont’s volumes first appeared in the 1890s, his ideas on Mithraism have been influential, particularly with regard to the quest for Mithraic doctrine. His emphasis on the Iranian features of the cult is now less influential with the Iranising influences generally played down in scholarship over the last thirty years. While the long shadow cast by Cumont is sometimes susceptible to exaggeration, recent research such as that of Robert Turcan demonstrates that Cumont’s influence is still strong.
Cumont, who still stands as an authoritative scholar for historians of religions, analyzed the diffusion of "oriental religions" as filling a psychological gap and satisfying new spiritualistic needs (1929: 24–40).
The old Cumontian model of formation in, and diffusion from, Anatolia (see Cumont 1956a, 11–32; cf. pp. 33–84 on propagation in the West) is by no means dead – nor should it be. On the role of the army in the spread of Mithraism, see Daniels 1975.
Mithras – moreover, a Mithras who was identified with the Greek Sun god Helios – was one of the deities of the syncretic Graeco-Iranian royal cult founded by Antiochus I (q.v.), king of the small but prosperous buffer state of Commagene (q.v.) in the mid 1st century BCE.
... It may properly be called a ‘Cumontian scenario’ for two reasons: First, because it looks again to Anatolia and Anatolians; Secondly, and more importantly, because it hews to the methodological line first set by Cumont.
The time has come to review the principal scholarship which has argued for transmission and continuity based on the postulated similarities ... three argue for continuity in the strongest terms. A.D.H. Bivar (1998, and earlier studies mentioned there) argues that western Mithraism was but one of several manifestations of Mithra-worship current in antiquity across a wide swathe of Asia and Europe. L.A. Campbell (1968) argues in the Cumontian tradition ... extraordinarily detailed and learned form of Zoroastrian Mazdaism. A continuity as thoroughgoing, though not quite so systematic ideologically, was proposed in several studies by G. Widengren (1965: pp. 222–232; 1966; 1980).
It originated in Vedic, India, migrated to Persia by way of Babylon, and then westward through the Hellenized East, and finally across the length and breadth of the Hellenistic-Roman world. On its westward journey, it incorporated many of the features of the cultures in which it found itself.
Mithraism declined with the rise to power of Christianity, until the beginning of the fifth century, when Christianity became strong enough to exterminate by force rival religions such as Mithraism.
As a mystery religion it engulfed the Roman empire during the first four centuries of our era. Mithraic sanctuaries are found from Roman Arabia to Britain, from the Danube to the Sahara, wherever the Roman soldier went. Christian apologetics fiercely fought the cult they feared., and during the late 4th century CE, as a victim of the Judaeo-Christian spirit of intolerance, Roman Mithraism was suppressed, its sanctuaries destroyed together with the last vestiges of religious freedom in the empire.
However, the cult was vigorously opposed by Christian polemicists, especially by Justin and Tertullian, because of perceived similarities between it and early Christianity. And with the anti-pagan decrees of the Christian emperor Theodosius during the final decade of the fourth century, Mithraism disappeared from the history of religions as a viable religious practice.
The ground-plan ... shows clearly that the presbytery of the Church lies over the ante-Room V of the Mithraeum and that the apse covers the first part of the main hall W, including the niches of Cautes and Cautopates. One cannot fail to see the symbolism of this arrangement, which expresses in concrete terms that Christ keeps Mithras "under". The same also applies at S. Clemente.
In some instances, the deliberate concealment of Mithraic cult objects could suggest precautions were being taken against Christian attacks; but elsewhere, such as along the Rhine frontier, coin sequences suggest that Mithraic shrines were abandoned in the context of upheavals resulting from barbarian invasions, and that purely religious considerations cannot explain the end of Mithraism in that region (Sauer 1996).
...The Mithras Liturgy reflects the world of Mithraism, but precisely how it relates to other expressions of the mysteries of Mithras is unclear. ... With the leg of the bull, interpreted astronomically, the Mithraic god, or Mithras, turns the sphere of heaven around, and if the text suggests that Mithras "moves heaven and turns it back (antistrephousa)," Mithras may be responsible for the astronomical precession of the equinoxes, the progressive change in the earth's orientation in space caused by a wobble in the earth's rotation (so Ulansey).
... The Christian's view of this rival religion is extremely negative, because they regarded it as a demonic mockery of their own faith.
In general, in studying Mithras, and the other Greco-oriental mystery cults, it is good practice to steer clear of all information provided by Christian writers: they are not 'sources', they are violent apologists, and one does best not to believe a word they say, however tempting it is to supplement our ignorance with such stuff.
Wherefore also the evil demons in mimicry have handed down that the same thing should be done in the Mysteries of Mithras. For that bread and a cup of water are in these mysteries set before the initiate with certain speeches you either know or can learn.
I sometimes permit myself to say that, if Christianity had not carried the day, Mithraicism would have become the religion of the world. It had its mysterious meetings: its chapels, which bore a strong resemblance to little churches. It forged a very lasting bond of brotherhood between its initiates: it had a Eucharist, a Supper ...
Mithraism proselytized energetically to the west, and for a time presented a formidable challenge to Christianity; but it is not yet known how far, or how effectively, it penetrated eastward. A Mithraeum has been uncovered at the Parthian fortress-town of Dura-Europos on the Euphrates; but Zoroastrianism itself may well have been a barrier to its spread into Iran proper.
This Mithraeum was discovered in 1934 ... they found a sanctuary of one of the most formidable antagonists of Christianity.
Mithra, also spelled Mithras, Sanskrit Mitra, ... In the 3rd and 4th centuries AD, the cult of Mithra, carried and supported by the soldiers of the Roman Empire, was the chief rival to the newly developing religion of Christianity.
... the study of Mithraism is also of great important for our understanding of what Arnold Toynbee has called the 'Crucible of Christianity', the cultural matrix in which the Christian religion came to birth out of the civilization of the ancient Mediterranean. For Mithraism was one of Christianity's major competitors in the Roman Empire ... No doubt Renan's statement is somewhat exaggerated.
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