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Mithraic Ladder |
by David Bowman
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Examining the whole sequence of the engravings assembled according to the chronological order of the datings I was surprised to count seven main figures in total. This number reminded me on ‘the celestial ladder’. Every figure of Dürer’s sequence could correspond to a specific planet of the symbolic celestial ladders that are literally illustrated on Melencolia I. A succession of planetary powers that in process of initiation needed to be mastered was much esteemed in Mithraism, a religion that flourished parallel to Christianity. The system of Mithraic grades, each corresponding to a planet, is well documented. The idea that Durer’s sequence could be interpreted in light of Mithraic grades come from Melencolia, where the mysterious cubical stone could represent the rock from which Mithras was born and the ladder next to it, the Mithraic grades.
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| Are Durer's engravings illustrating ancient Mithraic initiatory grades? |
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Mercury disguised in Adam is corresponding to the Mithraic grade of Corax (is the parrot instead of raven?). The first engraving also contains the second grade Nymphus, ruled by the planet Venus. The skeptics might flame that it is a woman that does not belong to the ancient order of Mithras but it is not unusual that the “bride of Mithras” is symbolized as Eve, a woman. Note that behind Eve/Venus is the bull seated on the ground echoing the constellation Taurus that Venus is exalted in.
It is not difficult to recognize the next grade Miles ruled by Mars in the image of the knight. Behind him, on a different plane are another two celestial bodies representing another two grades. The horn of the Devil literally resemble the Moon, which is ruling the grade of Perses and Death with its crown and snakes radiating from that crown represent Heliodromus guided by Sun. It is interesting that these two grades are on the different plane since they are celestial bodies, a star and a satellite, of a different nature than the planets.
Next comes the grade Leo, which comes under the protection of Jupiter. (With a bit of imagination an observer might distinguish the sign of Jupiter formed by the arch of the niche of the window prolonging in the horizontal table, while the vertical is the figure itself.) Dürer was again quite explicit if we consider that, a lion is lying on the floor. I must say that if there were not Miles and Leo so explicitly corresponding to the titles of the Mithraic grades it could be argued that Dürer only wanted to illustrate the classical celestial ladder, but these in my opinion suggests his clear intention.
In addition, it is concluded by the last image, Melencolia I, which represents none else but the grade of Pater coming under protection of the planet Saturn. Again, saturnine nature of this engraving is unquestionable. The last figure in the sequence, Pater, is looking all the way back just as the first, Corax, is looking in direction of the road ahead.
I am aware that it is hard to believe but Dürer has left us a complete illustrated plan of the most guarded Mithraic secret, their initiatory scheme with correspondences for those who could read them. If my assumptions are correct, then a whole metonymical chain of questions arise…was Dürer an initiate or just an interpret, did he learn about the secret order in Italy on one of his journeys, was this order a revival of the ancient Roman Mithraic in spirit of Renaissance neo-classicism. Since the story begins with Botticelli, one might wonder if he initiated Dürer, and so on ad infinitum... A reader is invited to answer these questions by her/himself...
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 "Mithraic Ladder")
