CIMRM Supplement - Mithraeum. Marino, Italy.
A Mithraeum was discovered in 1963 in the village of Marino in the Alban mountains south of Rome, near the ancient Castrimoenium. It has been dated on stylistic grounds to 160-170 AD,1 but Vermaseren dates it rather to the Severian period, to ca. 200 AD.2
A long narrow corridor, with the entrance at the western end, leads into the cave, at the eastern end of which is a large painted depiction of Mithras killing the bull, with side panels. The Mithraeum has the usual benches on either side, and an altar in front of the cult relief.
The benefactors of this Mithraic community appear to have been Alfius Severus and his actor Cresces, who are named in an inscription. Cresces therefore is a private administrator, probably a slave of the more important Severus, whose name in the altar is written as Seberus.
1. Description
Vermaseren describes the find as follows (p.4-11):
From: here.... Mr V. Zoffoli, enlarging his wine-cellars near the railway-station in 1963, discovered a grotto dedicated to the mighty and secret god (fig. 2). The plan of the Mithraeum (fig. 5 and Pl. I) is the usual one. Behind a wide entrance hall (L. 13.25 m, W. 8.00 m) we find the sanctuary itself, which is exceptionally long and much narrower (W. 3.10 m) than the ante-room. The longest Mithraeum of the Roman Imperium known hitherto was that at Sarmizegetusa is in Dacia (L. 26 m), the new one at Marino however is 29.20 metres long, which is twice the normal length. The arrangement of benches on either side with a nave in between is quite normal, as is the vault (H. 3.00 m) hewn out of the rock. Though this vault symbolizes the sky, it has not been decorated either with blue or with stars as in some other sanctuaries.
From: here.The left-bench (H. 0.84, W. 0.55) which is 19.70 metres long, starts at a distance of 7.20 metres from the entrance and ends at 1.20 m from the cult-niche. The right bench has disappeared, but there are traces indicating that this bench also stopped short of the niche.
Inscription on the altar.In the centre of the nave and before the representation of Mithras on the back wall is an altar (H. 1.18, W. 0.325-0.43, D. 0.325-0.43 m) with an inscription (Pl. II). This inscription (height of letters 0.038-0.04 m) reads as follows:
Invicto Ideo / Cresces / actor / Alfi / Seberi / d(onum) p(osuit)The importance of the Marino sanctuary lies however in its paintings. Immediately next to the entrance there are two panels. On the wall to the right is a damaged representation (Pl. IX) of Cautes surrounded by a blue border (H. 0.84, W. 0.55 m). He is holding up a burning torch with both hands; he wears a tiara with long flaps; his tunic is belted under the breast and does not cover his arms; a mantle is thrown over his shoulders. The tiara, tunic and mantle are pink like the flames of the long torch, which is itself rendered in blue. Only the upper part of the figure is preserved. His left hand and both legs are missing. Along the lower edge there are some traces of pink, traces of his legs which were crossed. The figure seems to have worn long trousers.
On the wall to the left, also surrounded by a blue border (H. 0.85, W. 0.60 m), is Cautopates (Pl. X) standing with a long torch pointed downwards in each hand. Cautes looks up at the bright flames of his torch, while his companion Cautopates looks sadly down at the ground. He is wearing a dark blue cap, a tunic with a belt and long anaxyrides. A long red cloak, fastened on his shoulders, partly covers his arms. It seems probable that like Cautes he had red shoes; his legs are crossed.
The rear wall of the sanctuary is given the form of a trapezium by the vault of the grotto. It has a dark border. The background is stuccoed white and in the centre there is a large oblong painting (Pl. III) of Mithras the bull-slayer with four minor scenes on either side.
...
On either side of this large well-executed painting there are four smaller scenes, divided from each other by black borders.
From top to bottom one sees:
On the left (Pls V and VI):
1) The battle between Jupiter and the Giants.
Jupiter appears in the sky, but only the upper part of his body is visible above a red horizontal stripe. The god is bearded and his short shoulder cape is billowing in the wind. In his upraised right hand he holds a thunderbolt poised to kill a nude Giant. This Giant is turned towards Jupiter and is represented emerging from the earth. He has long writhing snakes as feet and in both upraised hands he seems to be holding stones. A second Giant is visible on his left, who is faIling with outstretched snake-arms and feet.2) Saturn.
The god is reclining on his left arm facing right. He is bearded and wears a long purple garment with a broad girdle around his waist. His head is covered with a long veil. Both arms are bare from the elbow. In his right hand resting on his right knee he holds a sickle (harpe).3) Mithras' rockbirth.
Mithras is emerging from a rough yellow stone which resembles a large globe. His legs are still in the earth. He wears a reddish-brown tiara, a tunica manicata and trousers. Both his hands are raised, the left holding a burning torch, the right a dagger.4) Mithras riding the bull.
The white bull is facing right. The god is sitting astride and grasps the left horn of the bull with his right hand; his left hand is outstretched. Mithras wears a reddish-brown tiara, a tunica manicata, anaxyrides and shoes.
Plan and section of the Mithraeum. From Vermaseren, Mithriaca III, fig. 5.On the right (Pls VII and VIII):
5) Mithras taurophorus.
The god is carrying a young white bull on his shoulders towards a grotto. Mithras wears the usual brownish-red garments, tiara, tunica manicata, anaxyrides and shoes. The bull's forelegs drag the soil. The arched grotto is indicated at the right side in grey and dark-blue.6) Sol kneeling before Mithras.
Sol (at the left) is completely nude and is kneeling before Mithras, who is walking towards him from the right. Sol tries to grasp Mithras' right knee with his right hand, his left hand is outstretched. The sungod has a nimbus out of which shoot three red rays. Mithras in his usual reddish-brown clothing, but now also with a billowing shoulder cape, holds in his uplifted right hand a shin-bone club in order to confer the accolade on Sol. Mithras' left fist is clenched.7) Treaty between Sol and Mithras.
On either side of a flaming square altar stand Sol (left) and Mithras (right). Sol is nude except for a long red shoulder cape. His wild hair is surrounded by a nimbus. His left hand is outstretched with open palm, and his right he holds above the altar. This altar stands on a small base. Mithras who is clad now in full state, also wearing a long reddish-brown shoulder cape, touches Sol's right wrist with his right hand.8) Water-miracle.
Mithras (left) is standing before a rock. He wears reddish-brown clothing, his shoulder cape billowing. With both upraised hands he holds a bow and long arrow aimed at the rock. Before the rock kneels a person, also in a red oriental costume, with upraised hands. The painting is somewhat worn.As far as is known no other finds, such as terra sigillata and coins, have been made.
Coordinates: 41° 45' 44" N, 12° 38' 39" E / 41.7667° N 12.6667 ° E.3
2. Large image of tauroctony
3. Gallery of painted images
A gallery of large images from here, which apparently all come from Carlo Pavia, Roma Mitraica, Carlo Lorenzini Editiore, 1986.
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Number of entries: 13
4. Gallery of photographs by Csaba Szabo
These appear by permission from here, the June 2016 visit by Csaba Szabo.
