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''Fortuna Huiusce Diei'' ("The Fortune of This Day" or "Today's Fortune"〔Gary Forsythe, ''Time in Roman Religion: One Thousand Years of Religious History'' (Routledge, 2012), p. 19.〕) was an aspect of the goddess Fortuna, known primarily for her temple in the Area Sacra di Largo Argentina at Rome.〔Lawrence Richardson, ''A New Topographical Dictionary of Ancient Rome'' (Johns Hopkins University Press, 1992), p. 156.〕 Cicero lists her among the deities who should be cultivated in his ideal state, because "she empowers each day".〔Cicero, ''De legibus'' 2.28: ''nam valet in omnis dies''; Forsythe, ''Time in Roman Religion,'' p. 19; Anna Clark, ''Divine Qualities: Cult and Community in Republican Rome'' (Oxford University Press, 2007), p. 130.〕 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.〔Forsythe, ''Time in Roman Religion,'' p. 19; Clark, ''Divine Qualities,'' pp. 129–130.〕 ==Temple== The Temple of ''Fortuna Huiusce Diei'' in the Area Sacra was vowed by Q. Lutatius Catulus at the Battle of Vercellae in 101 BC.〔Plutarch, ''Life of Marius'' 26.2.〕 It is the only known temple to this goddess, and probably the first.〔If modern scholars are right to dismiss an earlier temple on the Palatine; Clark, ''Divine Qualities,'' p. 129.〕 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.〔William Warde Fowler, ''The Roman Festivals of the Period of the Republic'' (London, 1908), p. 343.〕 Catulus himself was known as a lover of Greek culture in his taste for art and poetry, and in matters of lifestyle. The architectural design of the temple reflects cultural syncretism: the frontality of its podium design would have placed the focus on the cult statue in the Roman manner, but some aspects are Hellenistic.〔Clark, ''Divine Qualities,'' p. 130; Mario Torelli, "Topography and Archaeology of Rome," translated by Helen Fracchia, in ''A Companion to the Roman Republic'' (Blackwell, 2010), p. 95.〕 Colloquially, the temple was known as the ''aedes Catuli'', "Catulus's temple," an indication of how public works served as monuments to their builders.〔Clark, ''Divine Qualities,'' p. 130.〕 In building this temple and the portico known as the ''Porticus Catuli'', Catulus was competing with his co-commander and consular colleague Gaius Marius. 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. Public buildings were a form of "self-advertisement" in the competition among the ruling elite of Rome. The choice of Fortuna as the deity honored by Catulus links his self-presentation to that of Sulla, who served under him and later took the name ''Felix'', "Lucky."〔Harriet I. Flower, ''Roman Republics'' (Harvard University Press, 2010), pp. 167–168.〕 Modern scholarly consensus identifies the temple with the site known as Temple B in the Largo di Torre Argentina of Rome, a rich archaeological site in the ancient Campus Martius. The construction would have intruded on an earlier ''templum'' usually identified with that of Juturna, and in some instances this sharing of space by deities indicates complementary functions.〔Michael Lipka, ''Roman Gods: A Conceptual Approach'' (Brill, 2009), p. 22.〕 The Temple of Juturna (Temple A) was vowed by an ancestor of Catulus, Gaius Lutatius Catulus, during the First Punic War. The public prominence of the ''gens Lutatia'' was thus enhanced by the collocation of the two.〔Hilary Becker, "The Economic Agency of the Etruscan Temple: Elites, Dedications and Display," in ''Votives, Places and Rituals in Etruscan Religion: Studies in Honor of Jean MacIntosh Turfa'' (Brill, 2009), p. 92.〕 Varro implies that the temple building ''(aedes)'' was of the less-common ''tholus'' type,〔Varro, ''De re rustica'' 3.5.12; also ''aedes'' in Pliny the Elder, ''Natural History'' 34.54.〕 round like those of Hercules in the Forum Boarium and Circus Flaminius, and having a colonnade.〔Richardson, ''A New Topographical Dictionary,'' p. 156; Lipka, ''Roman Gods,'' p. 91.〕 His of it near the Villa Publica facilitated the identification of the Area Sacra ruins as this temple.〔Richardson, ''A New Topographical Dictionary,'' p. 156.〕 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. The peripteros was of eighteen Corinthian columns, the shafts of tufa, and the bases and capitals of travertine. The walls are of concrete faced with ''opus incertum'', and the podium is faced with tufa plates and moldings.〔Richardson, ''A New Topographical Dictionary,'' p. 156.〕 The cella was taken down and rebuilt at a later period to install an "enormous" base for a colossal cult statue.〔Richardson, ''A New Topographical Dictionary,'' p. 156.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fortuna Huiusce Diei」の詳細全文を読む スポンサード リンク
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