Mercury
01-25-2012, 05:18 AM
When we try to understand what Mithraism was about we are faced right at the beginning with a problem: Mithraism was a mystery religion. Mystery religions by definition keep secrets. Because of this we aren’t going to find an ancient text that explains it all for us. We will have to look other places for our information.
One of the good things about Mithraism, from our point of view, is that Mithraic temples, called mithraea (singular mithraeum), were almost all underground. When Mithraism was no longer practiced in a given mithraeum, it was generally just walled off and built over. This means that in some cases we have virtually completely intact mithraea, with statues and inscriptions right where the Mithraic initiates left them. Even in places where we aren’t so fortunate, we nonetheless have large amounts of material preserved for us.
To understand both the opportunities and difficulties of making sense of the mithraea and their contents, imagine trying to reconstruct Roman Catholicism on the basis of a few hundred churches stripped of their texts. That image conveys well both the amount of evidence we have and how hard it is to understand it.
We are not completely without texts, but the ones we have are limited to a very small number of lines in various authors. Many of these authors were Christians who wished to criticize Mithraism. We can hardly expect that they would have known Mithraism’s inner secrets, and what they did know they were likely to have misunderstood or misrepresented. We’ll have to rely on what’s been found in the mithraea, then.
http://www.ceisiwrserith.com/mith/images/mithraeumSClemente.jpg
he first thing about the mithraea is their architecture. This tells us a lot right away. Mithraea are quite small, the largest found so far being 23 meters long (Clauss, p. 43). On average, they would have fit about thirty worshipers. This is surely a significant fact. Mithraists in each "congregation" would have known each other personally. In Ostia, the port city of Rome, we find seventeen mithraea discovered so far (Clauss, p. 43). They are still small, though. With enough initiates to fill large buildings, the Mithraists still chose to worship in small groups. Clearly that was important to them.
Perhaps it was the intimacy that was desired, the coming together of comrades for a single purpose. That this was true is hinted at by an architectural element of the mithraea. Running along either side of the central aisle are raised platforms for dining couches. The presence of the couches tells us that Mithraic rituals included ritual meals; that these couches are built into the mithraea (often quite literally in stone) tells us that this meal was central to their ritual.
http://www.ceisiwrserith.com/mith/images/mithrasroh.jpeg
The invariant element in mithraea was a statue or relief of Mithras killing a bull, called the "tauroctony." This was placed at the end of the mithraeum opposite the door, and was clearly meant to be the focus of the temple. From both its everpresence and the centrality of its location, the tauroctony is obviously an expression of the most important mystery of the cult. We need to look at it closely, then.
Some of the details of the tauroctony could vary, and there were regional styles, but there can be said to be a "canonical" tauroctony.
The most obvious element is of course Mithras killing a bull. Mithras is shown wearing Persian clothing; he wears a short tunic with pants and boots. He usually has a cape which billows out behind him. On his head is a Persian cap, a soft hat that folds forward at the top.
The bull is lying on the ground. Mithras half-sits on it, with his left knee on the bull’s back and his other leg stretching out to the ground. He pulls back the head of the bull with his left hand while stabbing a dagger or short sword into the bull’s shoulder with his right. Mithras is almost always looking either out at the observer or back over his shoulder.
There are other figures in the scene. There are generally a snake and a dog, usually leaping up towards the bull’s wound. There is often a scorpion pinching the bull’s genitals.
On either side of the scene are two characters dressed exactly like Mithras, but smaller. The one on the left, whom we know from inscriptions is called "Cautes," carries an upright torch; on the right, "Cautopates" carries one reversed. (The meaning of the names is debated, but they appear Iranian. See Schwarz for a discussion of the different theories.) The position of the two is not invariant, though; there are, in fact, fifty tauroctonies in which Cautes is on the left and Cautopates on the right (Clauss, p. 96). This makes problems for interpretations of their significance, some of which, such as the scene being of the rising and setting of the sun, rely on one arrangement or the other.
This makes up the basic scene. Most tauroctonies also have framing elements.
The most important is a cave within which the tauroctony takes places. The underground mithraea were meant to repeat this, so that Mithraic rituals would be seen as occurring in the same cave as the one Mithras killed the bull in. Frequently the cave has a zodiac for a border, showing us that it represents the cosmos.
In the upper left hand corner is the sun, and in the upper right the moon. Either a raven or a ray (or a raven on a ray) often extends from the sun to Mithras, as if bringing him a message.
There may be other figures, such as a lion or Saturn, and side panels might depict events in Mithras’ career. The ones I have described, however, are the most important ones.
The second most common image in the mithraea is of a meal shared by Mithras and the sun. That this takes place after he has killed the bull is certain, because the main part of the meal is the bull’s haunch. The two are sometimes served by men with raven’s heads.
This scene reflects the meals shared by the members of each group. Sometimes the feasting scene is on the back of the tauroctony, with the panel on which they are shown turning on a pivot. By simply turning the panel the mithraeum could be turned into a banqueting hall presided over by Mithras and the sun.
The third most important image in the mithraea goes by the delightful name of the "leontocephalous," or the "leontocephalic deity." This just means "the lion-headed one," and that’s exactly what he is, a man with the head of a lion. There is usually a snake wrapped around him. The other elements of this image vary, but two sets of wings (that is, four wings) and a set of keys are common. In only one case do we have a name for him, Arimanius. This is found on the base of a statue of him from York in England. There are, however, also a number of inscriptions to "the god Arimanius" without images.
There is one more important image we find in the mithraea, that of the birth of Mithras. This has been given the technical name "Mithras Petragenetrix," "Mithras Born from the Rock." And that is exactly what it shows - Mithras rising from a rock as a child. He is a rather precocious child, to be sure, because he is usually already holding his dagger in one hand, with a torch in the other. To make sure we know it is him he is wearing his cap. Often the torchbearers are there on either side, and sometimes we can tell that the birth is taking place inside a cave or surrounded by the zodiac (which come to pretty much the same thing).
There are some minor images found in some of the mithraea that illustrate events in the life of Mithras. We see him hunting with a bow on horseback, accompanied by a snake and a lion. Elsewhere he uses the bow to shoot an arrow against a rock, and water flows forth. We don’t know where the bull comes from, but there are images of him carrying the bull to the cave. Elsewhere we see him being raised to heaven by the sun; the two greet each other, the sun crowns Mithras with a crown like his own, and they sit down to eat together.
From the images we can chart out something of the life of Mithras. He is born from a rock, already equipped to perform great deeds. He shoots an arrow into a rock, producing water. He hunts, whether for the bull or something else we don’t know. He carries a bull back to a cave, where he sacrifices it. The sun communicates with him; whether to command the sacrifice or to invite Mithras to heaven afterwards we don’t know. After the sacrifice, the sun raises Mithras to heaven, greets him with a handshake, crowns him, and eats a feast with him. This is what we know of the mythical biography of Mithras.
Congratulations to those who have stuck with me this far. I need to talk about one more thing, and then I’ll get on to the task of answering the question of what Mithraism was about.
Mithraism had seven different grades of membership, each of which had its own initiation, arranged in a hierarchy. We know of these from some of the texts, but this information is confirmed by inscriptions and mosaics from the mithraea.
http://www.ceisiwrserith.com/mith/whatismith.htm
One of the good things about Mithraism, from our point of view, is that Mithraic temples, called mithraea (singular mithraeum), were almost all underground. When Mithraism was no longer practiced in a given mithraeum, it was generally just walled off and built over. This means that in some cases we have virtually completely intact mithraea, with statues and inscriptions right where the Mithraic initiates left them. Even in places where we aren’t so fortunate, we nonetheless have large amounts of material preserved for us.
To understand both the opportunities and difficulties of making sense of the mithraea and their contents, imagine trying to reconstruct Roman Catholicism on the basis of a few hundred churches stripped of their texts. That image conveys well both the amount of evidence we have and how hard it is to understand it.
We are not completely without texts, but the ones we have are limited to a very small number of lines in various authors. Many of these authors were Christians who wished to criticize Mithraism. We can hardly expect that they would have known Mithraism’s inner secrets, and what they did know they were likely to have misunderstood or misrepresented. We’ll have to rely on what’s been found in the mithraea, then.
http://www.ceisiwrserith.com/mith/images/mithraeumSClemente.jpg
he first thing about the mithraea is their architecture. This tells us a lot right away. Mithraea are quite small, the largest found so far being 23 meters long (Clauss, p. 43). On average, they would have fit about thirty worshipers. This is surely a significant fact. Mithraists in each "congregation" would have known each other personally. In Ostia, the port city of Rome, we find seventeen mithraea discovered so far (Clauss, p. 43). They are still small, though. With enough initiates to fill large buildings, the Mithraists still chose to worship in small groups. Clearly that was important to them.
Perhaps it was the intimacy that was desired, the coming together of comrades for a single purpose. That this was true is hinted at by an architectural element of the mithraea. Running along either side of the central aisle are raised platforms for dining couches. The presence of the couches tells us that Mithraic rituals included ritual meals; that these couches are built into the mithraea (often quite literally in stone) tells us that this meal was central to their ritual.
http://www.ceisiwrserith.com/mith/images/mithrasroh.jpeg
The invariant element in mithraea was a statue or relief of Mithras killing a bull, called the "tauroctony." This was placed at the end of the mithraeum opposite the door, and was clearly meant to be the focus of the temple. From both its everpresence and the centrality of its location, the tauroctony is obviously an expression of the most important mystery of the cult. We need to look at it closely, then.
Some of the details of the tauroctony could vary, and there were regional styles, but there can be said to be a "canonical" tauroctony.
The most obvious element is of course Mithras killing a bull. Mithras is shown wearing Persian clothing; he wears a short tunic with pants and boots. He usually has a cape which billows out behind him. On his head is a Persian cap, a soft hat that folds forward at the top.
The bull is lying on the ground. Mithras half-sits on it, with his left knee on the bull’s back and his other leg stretching out to the ground. He pulls back the head of the bull with his left hand while stabbing a dagger or short sword into the bull’s shoulder with his right. Mithras is almost always looking either out at the observer or back over his shoulder.
There are other figures in the scene. There are generally a snake and a dog, usually leaping up towards the bull’s wound. There is often a scorpion pinching the bull’s genitals.
On either side of the scene are two characters dressed exactly like Mithras, but smaller. The one on the left, whom we know from inscriptions is called "Cautes," carries an upright torch; on the right, "Cautopates" carries one reversed. (The meaning of the names is debated, but they appear Iranian. See Schwarz for a discussion of the different theories.) The position of the two is not invariant, though; there are, in fact, fifty tauroctonies in which Cautes is on the left and Cautopates on the right (Clauss, p. 96). This makes problems for interpretations of their significance, some of which, such as the scene being of the rising and setting of the sun, rely on one arrangement or the other.
This makes up the basic scene. Most tauroctonies also have framing elements.
The most important is a cave within which the tauroctony takes places. The underground mithraea were meant to repeat this, so that Mithraic rituals would be seen as occurring in the same cave as the one Mithras killed the bull in. Frequently the cave has a zodiac for a border, showing us that it represents the cosmos.
In the upper left hand corner is the sun, and in the upper right the moon. Either a raven or a ray (or a raven on a ray) often extends from the sun to Mithras, as if bringing him a message.
There may be other figures, such as a lion or Saturn, and side panels might depict events in Mithras’ career. The ones I have described, however, are the most important ones.
The second most common image in the mithraea is of a meal shared by Mithras and the sun. That this takes place after he has killed the bull is certain, because the main part of the meal is the bull’s haunch. The two are sometimes served by men with raven’s heads.
This scene reflects the meals shared by the members of each group. Sometimes the feasting scene is on the back of the tauroctony, with the panel on which they are shown turning on a pivot. By simply turning the panel the mithraeum could be turned into a banqueting hall presided over by Mithras and the sun.
The third most important image in the mithraea goes by the delightful name of the "leontocephalous," or the "leontocephalic deity." This just means "the lion-headed one," and that’s exactly what he is, a man with the head of a lion. There is usually a snake wrapped around him. The other elements of this image vary, but two sets of wings (that is, four wings) and a set of keys are common. In only one case do we have a name for him, Arimanius. This is found on the base of a statue of him from York in England. There are, however, also a number of inscriptions to "the god Arimanius" without images.
There is one more important image we find in the mithraea, that of the birth of Mithras. This has been given the technical name "Mithras Petragenetrix," "Mithras Born from the Rock." And that is exactly what it shows - Mithras rising from a rock as a child. He is a rather precocious child, to be sure, because he is usually already holding his dagger in one hand, with a torch in the other. To make sure we know it is him he is wearing his cap. Often the torchbearers are there on either side, and sometimes we can tell that the birth is taking place inside a cave or surrounded by the zodiac (which come to pretty much the same thing).
There are some minor images found in some of the mithraea that illustrate events in the life of Mithras. We see him hunting with a bow on horseback, accompanied by a snake and a lion. Elsewhere he uses the bow to shoot an arrow against a rock, and water flows forth. We don’t know where the bull comes from, but there are images of him carrying the bull to the cave. Elsewhere we see him being raised to heaven by the sun; the two greet each other, the sun crowns Mithras with a crown like his own, and they sit down to eat together.
From the images we can chart out something of the life of Mithras. He is born from a rock, already equipped to perform great deeds. He shoots an arrow into a rock, producing water. He hunts, whether for the bull or something else we don’t know. He carries a bull back to a cave, where he sacrifices it. The sun communicates with him; whether to command the sacrifice or to invite Mithras to heaven afterwards we don’t know. After the sacrifice, the sun raises Mithras to heaven, greets him with a handshake, crowns him, and eats a feast with him. This is what we know of the mythical biography of Mithras.
Congratulations to those who have stuck with me this far. I need to talk about one more thing, and then I’ll get on to the task of answering the question of what Mithraism was about.
Mithraism had seven different grades of membership, each of which had its own initiation, arranged in a hierarchy. We know of these from some of the texts, but this information is confirmed by inscriptions and mosaics from the mithraea.
http://www.ceisiwrserith.com/mith/whatismith.htm