Fortuna Huiusce Diei

[3] She thus embodies an important aspect of time as it figures in Roman religion: every day of the year had a distinct and potent nature, which the public priests were responsible for knowing and aligning the community with by means of the religious calendar.

[6] Its founding belongs to a period of religious innovation, with new cult titles for traditional Roman deities, and an increasing tendency to embrace imported gods, particularly those of the Greeks, through theological and artistic interpretation.

Although the two had celebrated a joint triumph, they became bitter political rivals, and Catulus felt that Marius had received disproportionate credit for the outcome of the war.

[12] Varro implies that the temple building (aedes) was of the less-common tholus type,[13] round like those of Hercules in the Forum Boarium and Circus Flaminius, and having a colonnade.

[15] In the description of Lawrence Richardson, A New Topographical Dictionary of Ancient Rome (1992), The temple is raised on a low podium, with a broad stair of approach projecting toward the east.

[20] The drapery was probably of bronze, but the position of the marble parts outside the temple suggests that the statue had been dragged down and the metal scavenged after the Roman Empire came under Christian rule.

[21] Comparison of the attitude of the surviving parts with other cult statues suggests that the goddess was shown standing, but arguments have also been made for a seated position.

[32] Its dies natalis was celebrated annually with a public sacrifice for the goddess,[33] and its place on the official calendar indicates that while the temple was privately vowed and sponsored, the cult of Fortuna Huiusce Diei was part of state religion.

[39] Filippo Coarelli's view that Fortuna Huiusce Diei presided over daily grain distributions in the city has not been widely disseminated in Anglophone scholarship.