In Darmesteter’s translation of the Zend Avesta the Persian months are treated of in Appendix C, p. 33, and in Appendix D, p. 37, we read of the Persian years:—
“L’année était divisée en quatre saisons, correspondant aux nôtres. Cette division ne paraît guère que dans les textes post-avestéens; mais il y a dans l’Avesta même des traces de son existence ancienne. La division normale de l’année est, dans l’Avesta, en deux saisons, été et hiver; l’été, hama, qui comprend les sept premiers mois (du 1er Farvardîn au 30 Mihr, soit du 21 mars au 16 octobre).... Cette division a une valeur religieuse, non seulement pour le rituel, mais aussi pour les pratiques, qui varient selon la saison.”
The worship of the Persian sun-god Mithras was introduced into Rome about the time of the fall of the Republic. How far this worship differed from that taught in the Zoroastrian writings we need not inquire; however changed it may have been, it was evidently derived originally from a Persian or a Median source. The worship of Mithras, in spite of much opposition, gained many followers in Rome. The birthday of the sun-god was kept at the winter solstice, but the great festivities in his honour, “the mysteries of Mithras,” were as a rule celebrated at the season of the spring equinox,[33] and were famous even among Roman festivals. Let us now turn our attention to the Tauric symbolism so closely connected with Mithraic observances in Rome.
[33] Cumont, in the first volume of his Monuments figurés relatifs aux mystères de Mithra, p. 326, having spoken of the solstitial festival in honour of the birthday of the god, observes as follows: “Nous avons certaines raisons de croire que les équinoxes étaient aussi des jours fériés où l’on inaugurait par quelque salutation le retour des Saisons divinisées. Les initiations avaient lieu de préférence vers le début du printemps, en mars ou en avril....”
A writer in the Athenæum thus describes a Roman Mithræum:[34] “Discovery was made during some excavations at Ostia of a handsome house containing among its various rooms a mithræum.... Into the kitchen opens a narrow and tortuous passage, from which by a small half-concealed staircase the mithræum is reached; ... it is quadrangular and regular in shape, as is usually the case in buildings of the kind. Almost the whole length of the two lateral walls run two seats, and on the side opposite the door is seen a little elevation, which served as the place for the usual statue of Mithras in the act of thrusting his dagger into the neck of the mystic Bull. A very singular peculiarity of this little Ostian mithræum is that it is entirely covered with mosaics—pavements, seats, and walls alike. The various figures and the symbols are splendidly drawn, and all executed in black tesseræ on a white ground. Upon each side of the seats, turned to the entrance door, is figured a genius bearing a lamp, that is, the genius of the spring equinox, with the face raised, and that of the autumn equinox, with the face cast down.... It is known, in fact, that the whole myth of Mithras is related to the phases of the sun ... hence are represented in the ground below the seats all the twelve signs of the zodiac, by means of the usual symbols, but each accompanied by a large star.”
[34] Athenæum, 1886, October 30 and November 6.
In the many sculptures of the Mithras group similar to that above described, which have been so well figured in Lajard’s Culte de Mithras, various heavenly bodies are represented. The Scorpion (the constellation Scorpio of the Zodiac opposed to Taurus) joins with Mithras in his attack upon the Bull, and always the genii of the spring and autumn equinoxes are present in joyous and mournful attitudes.
In looking at these plates the conviction is clearly forced upon our minds that the Bull so persistently, and, it may be added, so serenely, slain by Mithras in these Roman representations, is the Zodiacal Bull, overcome, and as it were destroyed or banished from heaven, in the daytime by the sun-god, and at night by Scorpio, the constellation in opposition. With almost equal conviction we arrive at the conclusion that this triumph of Mithras was associated traditionally—in Roman days it could only have been traditionally—with the occurrence, at a remote date, of the spring equinox during the time that the sun was in conjunction with the constellation Taurus.
In the ruins of Persepolis, ruins of buildings designed, erected, and decorated by the worshippers of the supreme God Ahura Mazda, and of his friend and representative Mithras, Tauric symbolism abounds. We do not amongst these ruins find portrayals of Mithras as a youth wearing a Phrygian cap, and “thrusting his dagger into the neck of the mystic Bull,” but again and again, in the bas-reliefs adorning the walls, we do find a colossal being thrusting his dagger into the body of a still more “mystic” creature than the Bull of the Roman sculptures—a creature combining in one instance at least[35] the attributes of Bull, Lion, Scorpion, and Eagle, and frequently those of two or more of these animals.
[35] See [Plate IV.]