Tyche in the context of "Christian Roman Empire"

The basilinna (Ancient Greek: βασίλιννα) or basilissa (Ancient Greek: βασίλισσα), both titles meaning "queen", was a ceremonial position in the religion of ancient Athens, held by the wife of the archon basileus. The role dated to the time when Athens was ruled by kings, and their wives acted as priestesses (Hiereiai). The duties of the basilinna are described in the pseudo-Demosthenic speech Against Neaira, which is the main source of evidence about the position.

The laws which set out the qualifications for a basilinna were inscribed on a stele which stood in the sanctuary of Dionysus at Limnai. She was expected to be of Athenian birth and not previously married, though Noel Robertson argues that these requirements may have been ignored as inconvenient.

In ancient Roman religion, Roma was a female deity who personified the city of Rome and, more broadly, the Roman state. She was created and promoted to represent and propagate certain of Rome's ideas about itself, and to justify its rule. She was portrayed on coins, sculptures, architectural designs, and at official games and festivals. Images of Roma had elements in common with other goddesses, such as Rome's Minerva, her Greek equivalent Athena and various manifestations of Greek Tyche, who protected Greek city-states; among these, Roma stands dominant, over piled weapons that represent her conquests, and promising protection to the obedient. Her "Amazonian" iconography shows her "manly virtue" (virtus) as fierce mother of a warrior race, augmenting rather than replacing local goddesses. On some coinage of the Roman Imperial era, she is shown as a serene advisor, partner and protector of ruling emperors. In Rome, the Emperor Hadrian built and dedicated a gigantic temple to her as Roma Aeterna ("Eternal Rome"), and to Venus Felix ("Venus the Bringer of Good Fortune"), emphasising the sacred, universal and eternal nature of the empire.

Roma's official cult served to advance the propagandist message of Imperial Rome. In Roman art and coinage, she is usually depicted in military form, with helmet and weapons. In Rome's eastern provinces, she was often shown with mural crown or cornucopia, or both. Her image is rarely found in a commonplace or domestic context. Roma was probably favoured by Rome's high-status Imperial representatives abroad, rather than the Roman populace at large. She was depicted on silver cups, arches, and sculptures, including the base of the column of Antoninus Pius. She survived into the Christian period as a personification of the Roman state. Her depiction seated with a shield and spear later influenced that of Britannia, personification of Britain.

Personification is the representation of a thing or abstraction as a person. In the arts, many things are commonly personified, including: places, especially cities, countries, and continents; elements of the natural world, such as trees, the four seasons, the "four elements", the four cardinal winds, and the five senses; moral abstractions, especially the four cardinal virtues and seven deadly sins; the nine Muses; and death.

In many polytheistic early religions, deities had a strong element of personification, suggested by descriptions such as "god of". In ancient Greek religion, and the related ancient Roman religion, this was perhaps especially strong, in particular among the minor deities. Many such deities, such as the tyches or tutelary deities for major cities, survived the arrival of Christianity, now as symbolic personifications stripped of religious significance. An exception was the winged goddess of victory, Victoria/Nike, who developed into the visualisation of the Christian angel.

Fortuna (Latin: Fortūna, equivalent to the Greek goddess Tyche), historically anglicized as Fortune, is the goddess of fortune and the personification of luck in Roman religion who, largely thanks to the Late Antique author Boethius, remained popular through the Middle Ages until at least the Renaissance. The blindfolded depiction of her is still an important figure in many aspects of today's Italian culture, where the dichotomy fortuna / sfortuna (luck / unluck) plays a prominent role in everyday social life, also represented by the very common refrain "La [dea] fortuna è cieca" (Latin Fortuna caeca est; "Luck [goddess] is blind").

Fortuna is often depicted with a gubernaculum (ship's rudder), a ball or Rota Fortunae (wheel of fortune, first mentioned by Cicero) and a cornucopia (horn of plenty). She might bring good or bad luck: she could be represented as veiled and blind, as in modern depictions of Lady Justice, except that Fortuna does not hold a balance. Fortuna came to represent life's capriciousness. She was also a goddess of fate: as Atrox Fortuna, she claimed the young lives of the princeps Augustus' grandsons Gaius and Lucius, prospective heirs to the Empire. (In antiquity she was also known as Automatia.)

In ancient Greek religion and mythology, Sosipolis (Ancient Greek: Σωσίπολις, romanized: Sōsípolis, lit. 'saviour of the city') was a native god at Elis. His mother was the childbirth-goddess Eileithyia, daughter of Zeus and Hera. There was a sanctuary of him inside the sanctuary of Eileithyia at Olympia, Greece. There was also a shrine dedicated to him on the left of the sanctuary of Tyche in Elis.

Hippostratus (Ancient Greek: Ἱππόστρατος, romanized: Hippostratos, meaning "army of horses") was an Indo-Greek king who ruled central and north-western Punjab and Pushkalavati. Bopearachchi dates Hippostratus to 65 to 55 BCE whereas R. C. Senior suggests 60 to 50 BCE.

In medieval and ancient philosophy, the Wheel of Fortune or Rota Fortunae is a symbol of the capricious nature of Fate. The wheel belongs to the goddess Fortuna (Greek equivalent: Tyche) who spins it at random, changing the positions of those on the wheel: some suffer great misfortune, others gain windfalls. The metaphor was already a cliché in ancient times, complained about by Tacitus, but was greatly popularized for the Middle Ages by its extended treatment in the Consolation of Philosophy by Boethius from around 520. It became a common image in manuscripts of the book, and then other media, where Fortuna, often blindfolded, turns a large wheel of the sort used in watermills, to which kings and other powerful figures are attached.