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lt images have the bull adorned with the roman dorsuale sometimes decorated with embroidery this dorsal band or blanket placed on the back of the animal is an adoption from the then contemporary images of public sacrifice and identifies the bull as a sacrificial beast 14 from traces of pigment found on some reliefs it seems that there was no particular coloring tradition that was followed in the relief from jajce cimrm 1902 the bull is black while mithras tunic is blue and his cloak red in the relief from marino and the wall fresco from capua vetere cimrm 181 the bull is white at marino mithras the tunic is red and the cloak blue in a stucco group now in frankfurt but originally from rome cimrm 430 the animal is reddish brown in the relief from the barbarini mithraeum cimrm 390 the bull is light brown and mithras tunic and trousers are green artistic model edit the model for the mithraic bull killing scene was probably the type of winged nike victory killing the bull which became a fashionable image once again in the reign of trajan 15 the similarity is so great that cumont mistook cimrm 25 from near baris to be related to the mysteries this was subsequently corrected by vermaseren and others 16 as being of nike already in 1899 cumont had identified the tauroctony as the imitation of the motif of the classical greek group of nike sacrificing a bull 17 but supposed that both tauroctony scenes were attributable to 2nd century bce pergamene artistic traditions 18 19 this notion has been characterized as one of cumont s least happy hypotheses 20 ancillary elements edit detail of cimrm 593 dog and serpent set at the bull s wound detail of cimrm 593 scorpion heading for the bull s testicles usually a canid commonly identified as a dog a serpent and a scorpion also appear in most tauroctony scenes the dog and serpent are typically set as reaching for the wound while a scorpion is typically set at the genitals of the dying bull many reliefs also include a bird commonly identified as a raven somewhere in the scene not infrequently particularly in reliefs from the rhine and danube frontiers the tauroctony scenes include a chalice and a lion seldom absent from the reliefs and also sometimes included in free standing tauroctony statuary are representations of cautes and cautopates the torchbearering twins that appear as miniature versions of mithras respectively holding a raised torch and a lowered torch usually cautes stands to the right of the scene while cautopates on the left in fifty tauroctony scenes their positions are reversed 21 and in rare cases such as the very earliest cimrm 593 they are both on one side of the scene the torchbearers commonly appear with crossed legs on a number of reliefs greenery or a tree is placed in the vicinity sometimes on both sides of the bull and at other times such as at nida germany as a wreath around the relief as siscia in pannonia superior sisak croatia a similar wreath is made of ears of wheat cimrm 1475 the signs of the twelve zodiacal constellations b and allusions to seven classical planets c are common in the tauroctony reliefs and frescoes the tauroctony reliefs but not the statuary almost always include busts of sol and luna i e respectively the god of the sun and the goddess of the moon which appear in respectively the left and right top corners of the scene the more ambitious cult images include the sun s horse drawn quadriga mounting upwards on the left while luna s oxen driven biga descends on the right 22 in these sol s chariot is preceded by the naked youth phosphorus who runs ahead with a raised torch luna s chariot is preceded by hesperus with lowered torch the two youths are reminiscent of cautes and cautopates 22 sol luna and the other five planetary gods d are also sometimes represented as stars in mithras outspread cloak or scattered in the background the seven planetary gods are also fairly commonly represented by the depiction of seven altars e or less commonly in anthropomorphic form as busts or full length several of the more detailed reliefs even seem to have the planetary gods placed in order of their week day dedications f but no standard sequence is discernible 23 as first identified by karl bernhard stark in 1879 but unexplored until the dismantling of the cumontian transfer scenario in the 1970s all the other elements of the tauroctony scene except mithras himself have obvious astral correlations too the constellations of taurus bull and scorpius scorpion g are on opposite points of the zodiac and between them lies a narrow band of the sky in which the constellations of the canine canis major minor or lupus snake hydra but not serpens or draco the twins gemini raven corvus cup crater lion leo and the star of the wheat ear spica alpha virginis appeared in the summers of the late first century 24 simultaneously as porphyry s description of the mysteries states the moon is also known as a bull and taurus is its exaltation 25 beginning with cumont who held the astral symbolism and all the other greco roman elements in the mysteries to be merely a late superficial and adventitious accretion 26 most mithraic scholars 27 have treated the correspondences between elements of the tauroctony and the constellations as coincidental or trivial but the chance that these correlations are an accidental unintended coincidence is improbable in the extreme 27 the chance that the correlations were intentional but added incoherently and unsystematically is also statistically negligible 28 at the same time the elements of the tauroctony scene all belong to the story that the designer of the scene wished to tell and the bull is present primarily because mithras kills one not primarily because the bull is taurus and or the moon 29 occasionally the busts of two or four wind gods are found in the corners of the cult reliefs 23 the figures of other protective gods h also sometimes appear 23 interpretation edit other than that the killing of the bull is a sacrificial act as identifiable from reliefs where the bull is adorned with a dorsuale the function and purpose of the tauroctony is uncertain since the tauroctony scenes are complemented by the cult meal scenes sometimes even represented on two sides of the same monument it may be that the killing is a salvific act i e s laughter and feast together effect the salvation of the faithful 30 traditional cumontian view edit cimrm 966 v i tauroctony bas relief from the sarrebourg mithraeum pons saravi gallia belgica now at the cour d or museum metz france within the framework of the cumontian supposition that the mithraic mysteries was the roman form of mazdaism the traditional view held that the tauroctony represented zoroastrianism s cosmological myth of the killing of a primordial bovine the myth is recounted in the bundahishn a 9th century ad zoroastrian text in the myth the evil spirit ahriman not mithras slays the primordial creature gavaevodata which is represented as a bovine into this tale cumont interpolated the unwilling hand of avestan mithra on command of the sun 31 speculating that there must have once existed a tale in which mithra takes the role that the texts assign to ahriman this cumontian characterization of iranian mithra has long been discarded as not merely unsupported by iranian texts but is actually in serious conflict with known iranian theology given mithra s role in iranian scripture as a guardian of livestock and whose stock epithet is protector of pastures 32 simply put unlike roman mithras iranian mithra does not do any bull killing a parthian relief of a bird on back of a bull zahhak castle east azerbaijan iran similar relief is found on a parthian belt buckle recently the iconographic reliefs of a bird and a bull which are found in iran have been compared to the tauroctony by iranian scholars 33 modern astrological interpretations edit cimrm 1935 tauroctonous mithras from the maros porto mithraeum mureș port romania now at brukenthal national museum in the wake of the 1970s dismantling of the cumontian transfer scenario cumont s trivialization of the astronomical astrological aspects of the mysteries as intellectual diversions designed to amuse the neophytes 34 has yielded to the general recognition that the astronomical astrological aspects were part of the fundamental premises of the cult this recognition is not new s ince the time of celsus around 178 author of alēthēs logos it has been known via origen s contra celsum that the mithraic mysteries relate to fixed stars and planets 35 in the post cumontian period this recognition was first revived by stanley insler second congress 1975 who pointed out that the tauroctony could be interpreted solely in terms of the greco roman understanding of astronomical phenomena 36 likewise richard l gordon 1976 cautioned against overlooking the importance of the cult s astronomical symbolism 37 four contemporaneous articles 1976 1977 by roger beck stressed the role of astronomy astrology in the context of greco roman religious thought 38 39 40 41 beck thought it ironic that cumont who was himself one of the most eminent scholars of ancient astrology i should have been unaware of this implication cumont s preoccupation with les traditiones iraniennes had blinkered him 42 since the 1970s the zodiacal symbolism in the scene has provoked much speculation that the cult relief represents some sort of star map code that poses a riddle of mithras identity beck 2006 summarizes them as follows author year proposed tauroctonous mithras represents alessandro bausani 1979 leo michael speidel 1980 orion karl gustav sandelin 1988 auriga david ulansey 1989 perseus john david north 1990 betelgeuse roger beck 1994 the sun in leo maria weiss 1994 1998 the night sky stanley insler 1978 and bruno jacobs 1999 identify the entire bull killing scene with the heliacal setting of taurus in 2006 roger beck found all these approaches lacked persuasiveness because they were ungrounded in proper contextual soil 43 there is no consensus on the issue legacy edit the image was adapted for a prix de rome sculpture of the madness of orestes by raymond barthélemy 1860 the prize winning plaster model remains in the collection of the école nationale supérieure des beaux arts where it was included in the 2004 travelling exhibition dieux et mortels notes edit the tauroctony should not be confused with a taurobolium which was an actual bull killing cult act performed by initiates of the mysteries of magna mater cybele and has nothing to do with the mithraic mysteries there is no evidence that initiates of the mithraic mysteries ever performed such a rite i e a real bull killing and a priori considerations suggest that a mithraeum any mithraeum would be a most impractical place to attempt it 2 cancer leo virgo libra scorpius sagittarius capricorn aquarius pisces aries taurus gemini in greco roman times the sun and moon were categorized as planets saturn mars mercury jupiter venus e g cimrm 40 1275 1818 2245 from right to left monday day 2 luna tuesday mars wednesday mercury thursday jupiter friday venus saturday day 7 saturn sunday day 1 sol on the role of the scorpion in the tauroctony and its association with ideas widely current in greco roman thought see beck 1976c pp 208 209 e g juno hera oceanus hercules vulcan etc cumont was the author of the popular astrology and religion among the greeks and romans 1912 the more specialist l égypte des astrologues 1937 and also co founder and co editor of the multi volume catalogus codicum astrologorum graecorum 1898 1953 references edit beck 2006 p 17 beck 1984 p 2026 clauss 2000 p 48 gordon 1978 p 156 vermaseren 1960 p ii 439 clauss 1992 pp 253 254 clauss 2000 p 22 146 gordon 1978 p 152 merkelbach 1984 p 148 beck 1998 pp 117 118 beck 1984 p 2073 clauss 2000 p 95 clauss 2000 p 80 clauss 2000 p 81 clauss 2000 p 79 cf beck 1984 p 2019 cumont 1903 p 21 cumont 1896 pp 180f cumont 1903 p 24 210 beck 1984 p 2072 clauss 2000 p 96 1 2 clauss 2000 p 84 1 2 3 clauss 2000 p 85 beck 2006 pp 30 31 porphyry de antro 18 quoted in clauss 2000 p 82 cumont 1903 pp 23 32 1 2 beck 2006 p 31 beck 2004b p 240 beck 2004c p 252 clauss 2000 p 112 cumont 1903 p 135f hinnells 1975 p 292 بررسی مهر و میترا در منابع کهن ایرانی و مسالک و ممالک خبرگزاری کتاب ایران ۱ بهمن ۱۳۸۹ archived from the original on 2014 06 09 retrieved 2017 06 26 cumont 1903 p 130 chapman rietschi 1997 p 133 cf bianchi 1976 p 89 gordon 1976 p 119 beck 1976a p 1f beck 1976b p 95f beck 1976c p 208 beck 1977 pp 15 16 beck 1977 p 16 note 27 beck 2006 p 34 bibliography edit beck roger 1976a interpreting the ponza zodiac journal of mithraic studies 1 1 1 19 beck roger 1976b the seat of mithras at the equinoxes porphyry de antro nympharum 24 journal of mithraic studies 1 1 95 98 beck roger 1976c a note on the scorpion in the tauroctony journal of mithraic studies 1 2 208 209 beck roger 1977 cautes and cautopates some astronomical considerations journal of mithraic studies 2 1 1 17 beck roger 1984 mithraism since franz cumont in haase wolfgang ed heidentum römische götterkulte orientalische kulte in der römischen welt aufstieg und niedergang der römischen welt vol ii 17 4 berlin walter de gruyter pp 2002 2115 beck roger 1998 the mysteries of mithras a new account of their genesis journal of roman studies 88 115 128 doi 10 1017 s0075435800044130 beck roger 2004a mithraism after mithraism since franz cumont 1984 2003 beck on mithraism collected works with new essays ashgate pp 3 24 beck roger 2004b the rise and fall of the astral identifications of the tauroctonous mithras beck on mithraism collected works with new essays ashgate pp 235 249 beck roger 2004c astral symbolism in the tauroctony beck on mithraism collected works with new essays ashgate pp 251 266 beck roger 2006 the religion of the mithras cult in the roman empire mysteries of the unconquered sun oxford university press isbn 0198140894 bianchi ugo 1976 the second international congress of mithraic studies tehran september 1975 journal of mithraic studies 1 77 94 chapman rietschi peter a l 1997 astronomical conceptions in mithraic iconography journal of the royal astronomical society of canada 91 133 134 bibcode 1997jrasc 91 133c clauss manfred 1992 cultores mithrae die anhängerschaft des mithras kultes heidelberger althistorische beiträge und epigraphische studien habes vol 10 stuttgart steiner clauss manfred 2000 the roman cult of mithras the god and his mysteries translated by gordon r l new york routledge cumont franz 1896 textes et monuments figurés relatifs aux mystères de mithra vol ii textes littéraires et epigraphiques brussels lamartin cumont franz 1903 the mysteries of mithra translated by mccormack thomas j 2nd ed chicago open court london kegan paul trench trübner fasc repr new york dover 1956 cite book cs1 maint postscript link gordon richard l 1976 the sacred geography of a mithraeum the example of sette sfere journal of mithraic studies 1 2 119 165 go...