User:Roger Pearse/Mithras

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Double-faced Mithraic relief. Rome, second to third century AD. Louvre Museum

The Mithraic Mysteries or Mysteries of Mithras (also Mithraism) was a mystery religion centered on the god Mithras in the Roman Empire, from the 1st to 4th centuries AD. Information on the cult is based mainly on interpretations of the many surviving monuments. The most characteristic of these are depictions of Mithras as being born from a rock, and as sacrificing a bull. His worshippers had a complex system of seven grades of initiation, with ritual meals. They met in underground temples, which survive in large numbers. Little else is known for certain.

Summary of the cult myth

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Mithras born from the rock (petra genetrix), Marble, 180-192 AD. From the area of S. Stefano Rotondo, Rome.

Mithras is born from a rock. He is depicted in his temples slaying a bull in the tauroctony (see section below). Little is known about the beliefs associated with this. The ancient histories of the cult by Euboulos and Pallas have perished. The name of the god was certainly given as Mithras (with an 's') in Latin monuments, although Mithra may have been used in Greek.

History and development

Beginnings

In antiquity, texts refer to "the mysteries of Mithras", and to its adherents, as "the mysteries of the Persians." But there is great dispute about whether there is really any link with Persia, and its origins are quite obscure.

The mysteries of Mithras were not practiced until the 1st century AD. The unique underground temples or Mithraea appear suddenly in the archaeology in the last quarter of the 1st century AD.

Earliest cult locations

The attested locations of the cult in the earliest phase (c. 80–120 AD) are as follows:

Mithraea datable from pottery

• Nida/Heddemheim III (Germania Sup.)
• Mogontiacum (Germania Sup.)
• Pons Aeni (Noricum)
• Caesarea (Judaea)

Datable dedications

• Nida/Heddernheim I (Germania Sup.) (CIMRM 1091/2, 1098)
• Carnuntum III (Pannonia Sup.) (CIMRM 1718)
• Novae (Moesia Inf.) (CIMRM 2268/9)
• Oescus(Moesia Inf.)(CIMRM 2250)
• Rome(CIMRM 362, 593/4)

Datable literary reference

• Rome (Statius, Theb. 1.719-20)

Earliest archaeology

The earliest Mithraic monument showing Mithras slaying the bull is thought to be CIMRM 593. This is a depiction of Mithras killing the bull, 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 AD, which would give an earliest date of 98-99 AD.

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 AD. It is dedicated to Sol Invictus Mithras.

CIMRM 2268 is a broken base or altar from Novae/Steklen in Moesia Inferior, dated 100 AD, 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 AD; and the earliest military inscription, by C. Sacidius Barbarus, centurion of XV Apollinaris, from the bank of the Danube at Carnuntum, probably before 114 AD.

The last is the earliest archaeological evidence outside Rome for the Roman worship of Mithras, a record of Roman soldiers who came from the military garrison at Carnuntum. The earliest dateable Mithraeum outside Rome dates from 148 AD. The Mithraeum at Caesarea Maritima is the only one in Palestine and the date is inferred.

Vermaseren notes that no Mithraic monument can be certainly dated earlier than the end of the 1st century AD.

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 BC, and by Beck to 50 BC-50 AD, which might 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.

Earliest literary references

The earliest surviving ancient literary text that can be associated with the Mysteries of Mithras is in Statius c. 80 AD, who makes an enigmatic reference, possibly to the tauroctony. Dio Cassius, describing the visit of Tiridates to the emperor Nero in 63 AD, refers to his worshipping Mithras; but the context suggests that the Persian Mitra is intended.

Origin Theories

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Mithras and the Bull: This fresco from the mithraeum at Marino, Italy (third century) shows the tauroctony and the celestial lining of Mithras' cape.

Plutarch

The Greek biographer Plutarch (46 - 127) says that the pirates of Cilicia, the coastal province in the southeast of Anatolia, were the origin of the Mithraic rituals that were being practiced in Rome in his day: "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." (Life of Pompey 24, referring to events c. 68 BC). The 4th century commentary on Vergil by Servius says that Pompey settled some of these pirates in Calabria. But whether any of this relates to the origins of the mysteries is unclear.

Porphyry

According to 3rd-4th century AD philosopher Porphyry, Mithraists considered that their cult was founded by Zoroaster. But Porphyry is writing close to the demise of the cult, and modern scholar 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 neo-platonists of what it suited them in the late 4th century to read into the mysteries. Merkelbach and Beck believe that Porphyry's work "is in fact thoroughly coloured with the doctrines of the Mysteries."

Cumont's hypothesis: possible origins in Persian Zoroastrianism

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. 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.

Cumont's theories were examined and largely rejected 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.

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."

Beck tells us that since the 1970s scholars have generally rejected Cumont, but adds that recent theories about how Zoroastrianism was during the period BC now makes some new form of Cumont's east-west transfer possible. "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."

Modern theories

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Bas-relief depicting the tauroctony. Mithras is depicted looking to Sol Invictus as he slays the bull. Sol and Luna appear at the top of the relief

Beck believes 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: "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, king of the small, but prosperous "buffer" state of Commagene, in the mid 1st century BC".

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 "Till 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.

Ware asserted that the Romans who founded the religion borrowed the name "Mithras" from Avestan Mithra.

Later history

The first important expansion of the mysteries in the Empire seems to have happened quite quickly, late in the reign of Antoninus Pius 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 Sol Invictus became part of the state. 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 possibly spurious 4th century Historia Augusta, the emperor Commodus participated in its mysteries. But it never became one of the state cults.

The end of Mithras

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 pagan senators in Rome as part of the "pagan revival" among the elite.

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 (253-68) 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 they 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.

Cumont stated in the English edition of his book that Mithraism may have survived in certain remote cantons of the Alps and Vosges into the 5th century, but the reference was only given in the French text, and was to the date of the coins in the Mithraeum at Pons Sarravi, none of which are in fact 5th century.

Iconography

Much about the cult of Mithras is only known from reliefs and sculptures. There have been many attempts to interpret this material.

The tauroctony

tauroctony in Kunsthistorisches Museum

In every Mithraeum the centrepiece was a representation of Mithras killing a sacred bull; the so-called tauroctony.

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. The two torch-bearers are on either side, dressed like Mithras, Cautes with his torch pointing up and Cautopates with his torch pointing down.

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. 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.

File:Neuenheimer Mithraeum.jpg

Tauroctony from Neuenheim near Heidelberg, with subsidiary framing panels depicting the life of Mithras

Sometimes Cautes and Cautopates carry shepherds' crooks instead.

Interpretations and theories

Franz Cumont hypothesized that 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 Mithras) slays the primordial creature Gavaevodata which is represented as a bovine. Cumont speculated that a version of the myth must have existed in which Mithras, not Ahriman, killed the bovine. But Hinnells points out that 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.

File:Mytras Ceremony SIBIU Hystory Museum.JPG

Unusual Tauroctony of Mithras at the Brukenthal National Museum

Beck has given the following celestial anatomy of the Tauroctony:

Component of Tauroctony	Celestial Counterpart
Bull	Taurus
Dog	Canis Minor, Canis Major
Snake	Hydra, Serpens, Draco
Raven	Corvus
Scorpion	Scorpius
Wheat's ear (on bull's tail)	Spica
Twins Cautes and Cautopates	Gemini
Lion	Leo
Crater	Crater
Sol	Sun
Luna	Moon
Cave	Universe

Several celestial identities for the Tauroctonous Mithras (TM) himself have been proposed. Beck summarizes them in the table below.

Scholar	Identification
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-whisp" which "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.

The Banquet

File:Mithras banquet Louvre Ma3441.jpg

Sol and Mithras banqueting with Luna and the twin divinities Cautes and Cautopates, his attendants. Marble, side B of a two-faced Roman relief, 2nd or 3rd century AD.

The second most important scene after the tauroctony in Mithraic art is the so-called banquet scene. The two scenes are sometimes sculpted on the opposite sides of the same relief. The banquet scene features Mithras and the Sun god banqueting on the hide of the slaughtered bull. On the specific banquet scene on the Fiano Romano relief (see image on the right), 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 slayed bull has soaked the ground at the base of the altar, and from the blood the souls are elicited in flames by the caduceus.

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Leontocephaline of the Mithraic Mysteries. Line drawing of the figure found at the mithraeum of C. Valerius Heracles and sons (dedicated 190 AD) at Ostia Antica, Italy. CIMRM 312

Leontocephaline

One of the most characteristic features of the Mysteries is the naked lion-headed figure often found in Mithraic temples. He is entwined by a serpent, 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 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. A more scarcely represented variant of the figure with a human head is also found.

Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, the Leontocephaline is entirely restricted to Mithraic art.

The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius (though the archeological evidence is not very strong), which is nominally the equivalent of Ahriman, a demon figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a deus in the Mithraic cult (CIMRM 222 from Ostia, 369 from Rome, 1773 and 1775 from Pannonia).

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.

Rituals and worship

Little is known about the beliefs of the cult of Mithras. Modern accounts rely primarily on modern interpretation of the reliefs.

No Mithraic scripture or first-hand account of its highly secret rituals survives, with the possible exception of a liturgy recorded in a 4th century papyrus, which may not be Mithraic at all. 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 placque, 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 equally it may well be noted that, in northern and central Europe, reclining on a masonry plinth in an unheated cave was likely to be a predominantly summertime activity. For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum - typically there might be room for 15-30 diners, but very rarely many more than 40. 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.

Each Mithraeum invariably 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 narthax. 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.

Mithraic beliefs appear not to have been internally consistent and monolithic, but rather, varied from location to location. Mithraism 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, but we do not know how a Mithraeum could tell who was properly an initiate (or indeed whether this was ever an issue; as it most certainly was in contemporary Christianity).

The Mithraeum

File:Ostia Antica Mithraeum.jpg

A mithraeum found in the ruins of Ostia Antica, Italy.

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 very unevenly distributed, with considerable numbers found in Rome, Ostia, Numidia, Dalmatia, Britain and along the Rhine/Danube frontier; while being much less common in Greece, Egypt, and Syria. Mithriac rituals being secret, Mithraism could only be practiced within a Mithraeum; and consequently it may be safely concluded that areas without Mithraea were also without Mithraists. More than 420 Mithraic sites have now been identified. By their nature Mithraea tend to survive when other forms of religious structures do not; and consequently the relative prevalence of Mithraism in the population may well tend to be over-estimated.

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 in 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 term mithraeum is modern; in Italy inscriptions usually call it a spelaeum; outside Italy it is referred to as templum.

In their basic form, Mithraea were entirely different from the temples and shrines of other cults. In standard pattern 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; being entirely inward-focussed with altars set within the building, and with no sacred precinct, or indeed any provision for worshippers other than initates.

Degrees of initiation

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 the mysteries of Mithras, 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 Ostia Mithraeum of Felicissimus depicts these grades, with heraldic emblems that are connected either to the grades or are just symbols of the planets. The grades also have an inscription besides them commending each grade into the protection of the different planetary gods. In ascending order of importance the initiatory grades were:

Grade	Symbols	Associated planet/Protecting deity
Corax (raven)	beaker, caduceus	Mercury
Nymphus (bridegroom, or male bride)	lamp, diadem	Venus
Miles (soldier)	pouch, helmet, lance	Mars
Leo (lion)	batillum, sistrum, thunderbolts	Jupiter
Perses (Persian)	akinakes, scythe, moon and the stars	Luna
Heliodromus (sun-runner)	torch, radiated crown, whip	Sol
Pater (father)	patera (or ring?), staff, Phrygian cap, sickle	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 sometimes possible to track 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 identify the initiates grade - and hence questioned that 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 Mithraea 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 persons 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 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

Ritual imitations

File:Bible museum - Mithrasheiligtum.jpg

Reconstruction of a mithraeum with a mosaic depicting the grades of initiation.

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 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 so-called Procession of the Sun-Runner features 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 complete absence of female personages. Mithras has no mother, consort or children. As a form of mutual religious courtesy Mithraea commonly also hosted statues to non-Mithraic divinities, and feminine gods were not excluded from this, but in the main Mithraic iconographic sequence only the figure of Luna is presented as feminine, and she is not depicted as interacting with Mithras or participating in the action of the narrative in any way.

From this, and from the evidence of membership lists, it is generally believed that the cult was for men only. It has recently been suggested by one scholar 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 .

Mithraic Ethics

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 that the Mithraic initiation ritual included refusing a proffered crown, because "their only crown was Mithras".

Mithras and other gods

Template:Main Syncretism was a feature of Roman paganism, and the cult of Mithras was part of this. 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 other pagan religions, but rather a particular way of practising pagan worship; and many Mithraic initiates can also be found worshipping in the civic religion, and as initiates of other mystery cults. Although modern scholarship refers to Mithraic initiates as Mithraists, no equivalent term is found in antique Mithraic texts; Mithraic congregations appear to have needed no general term to distinguish their own members.

Mithraism and Christianity

File:Mythra Riding Bull Hermanstadt.jpg

Mithras riding bull

The idea of a relationship between early Christianity and Mithraism is based on a remark by the 2nd century Christian writer Justin Martyr, who accused the Mithraists of diabolically imitating the Christian communion rite. Based upon this, Ernest Renan in 1882 set forth a vivid depiction of two rival religions: "if the growth of Christianity had been arrested by some mortal malady, the world would have been Mithraic," But in fact the two groups did not have similar aims, and there was never any chance of this occuring.

Further reading

• Beck, Roger, "The Mysteries of Mithras: A New Account of Their Genesis," Journal of Roman Studies, Vol. 88, 1998 (1998) , pp. 115–128.
• Beck, Roger, "Mithraism since Franz Cumont," Aufstieg und Niedergang der römischen Welt, II.17.4, 1984, pp. 2002–115. Important summary of the changes to Mithras scholarship.
• Clauss, Manfred, The Roman cult of Mithras: the god and his mysteries, Translated by Richard Gordon. New York: Routledge, 2000. Pp. 198. ISBN 0-415-92977-6 here. An excellent concise view of the current consensus.
• Cumont, Franz, Textes et monuments figurés relatifs aux Mystères de Mithra : pub. avec une introduction critique, 2 vols. 1894-6. Vol. 1 is an introduction, now obsolete. Vol. 2 is a collection of primary data, online at Archive.org here, and still of some value.
• Gordon, Richard, Frequently asked questions about the cult of Mithras. Some common misconceptions, and the comments of a professional Mithras scholar.
• Hinnells, John (ed.), Proceedings of The First International Congress of Mithraic Studies, Manchester University Press (1975).
• Template:Cite journal
• Turcan, Robert, Mithra et le mithriacisme, Paris, 2000. Academic study.
• Ulansey, David, The Origins of the Mithraic Mysteries: Cosmology and Salvation in the Ancient World, Oxford University Press, 1989. An influential but non-mainstream account.
• Vermaseren, M.J., Corpus Inscriptionum et Monumentorum Religionis Mithriacae, The Hague, Martinus Nijhoff, 1956, 2 vols. The standard collection of Mithraic reliefs.

External links

• The Electronic Journal of Mithraic Studies Academic site.
• Mithraeum A website with a collection of monuments and bibliography about Mithraism.
• L'Ecole Initiative: Alison Griffith, 1996. "Mithraism" A brief overview with bibliography.
• Cumont, "The Mysteries Of Mithra" Old English translation of obsolete intro to his book.
• Mithras: literary references Collection of primary source references to Mithras in ancient texts.
• David Ulansey's article "The Cosmic Mysteries of Mithras" from Biblical Archaeology Review, summarizing his book The Origins of the Mithraic Mysteries (Oxford Univ. Press, 1989).
• Google Maps: Map of the locations of Mithraea