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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").
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 ...
Depiction of Fortuna Redux on a 2nd-century coin. She holds a cornucopia and a rudder affixed to the globe Fortuna Redux was a form of the goddess Fortuna in the Roman Empire who oversaw a return, as from a long or perilous journey.
It is most associated with Fortuna since, along with the cornucopia, it is an item that she is often depicted as holding. The corresponding Greek god Tyche is also regularly shown with a gubernaculum. There are abundant depictions of Fortuna holding the gubernaculum on coins, in paintings, on altars and statues or statuettes.
Allegory of Fortune, sometimes also named La Fortuna, is an oil painting on canvas featuring the Roman goddess of fortune, Fortuna, that was created c. 1658 or 1659 by the Italian baroque painter Salvator Rosa. The painting caused uproar when first exhibited publicly and almost got the painter jailed and excommunicated.
The card has been modeled ever since the tarot's inception in the 15th century after the medieval concept of Rota Fortunae, the wheel of the goddess Fortuna. Images generally show a six- or eight-spoked wheel, often attended or crested by an individual (sometimes human; sometimes a Sphinx -like half-human) attired in an Egyptian-style headdress.
Tyche (/ ˈ t aɪ k i /; Ancient Greek: Τύχη Túkhē, 'Luck', Ancient Greek: [tý.kʰɛː], Modern Greek:; Roman equivalent: Fortuna) was the presiding tutelary deity who governed the fortune and prosperity of a city, its destiny.
A second, smaller version in oils on canvas, painted from 1871 to 1885, is in the National Gallery of Victoria in Melbourne, Australia.Measuring 151.4 cm × 72.5 cm (59.6 in × 28.5 in), it was acquired as part of the Felton Bequest in 1909.