What is "aureola"

Aureola \Au*re"o*la\, Aureole \Au"re*ole\, n. [F. aur['e]ole, fr. L. aureola, (fem adj.) of gold (sc. corona crown), dim. of aureus. See Aureate, Oriole.]

1. (R. C. Theol.) A celestial crown or accidental glory added to the bliss of heaven, as a reward to those (as virgins, martyrs, preachers, etc.) who have overcome the world, the flesh, and the devil.

2. The circle of rays, or halo of light, with which painters surround the figure and represent the glory of Christ, saints, and others held in special reverence.

   Note: Limited to the head, it is strictly termed a nimbus; when it envelops the whole body, an aureola.
   --Fairholt.

3. A halo, actual or figurative.

   The glorious aureole of light seen around the sun during total eclipses.
   --Proctor.

   The aureole of young womanhood.
   --O. W. Holmes.

4. (Anat.) See Areola, 2.

5. the outermost region of the sun's atmosphere; visible from earth during a solar eclipse, or in outer space by the use of special instruments; a corona[5].

   Syn: corona.

n. radiance of luminous cloud that surrounds the figure in a painting of a sacred personage.

An aureola or aureole (diminutive of Latin aurea, "golden") is the radiance of luminous cloud which, in paintings of sacred personages, surrounds the whole figure. In the earliest periods of Christian art it was confined to the figures of the persons of the Christian Godhead, but it was afterwards extended to the Virgin Mary and to several of the saints.

The aureola, when enveloping the whole body, generally appears oval or elliptical in form, but occasionally depicted as circular, vesica piscis, or quatrefoil. When it appears merely as a luminous disk round the head, it is called specifically a halo or nimbus, while the combination of nimbus and aureole is called a glory. The strict distinction between nimbus and aureole is not commonly maintained, and the latter term is most frequently used to denote the radiance round the heads of saints, angels or Persons of the Trinity.

This is not to be confused with the specific motif in art of the Infant Jesus appearing to be a source of light in a Nativity scene. These depictions derive directly from the accounts given by Saint Bridget of Sweden of her visions, in which she describes seeing this.

The nimbus in Christian art first appeared in the 5th century, but practically the same motif was known from several centuries earlier, in pre-Christian Hellenistic art. It is found in some Persian representations of kings and gods, and appears on coins of the Kushan kings Kanishka, Huvishka and Vasudeva, as well as on most representations of the Buddha in Greco-Buddhist art from the 1st century AD. Its use has also been traced through the Egyptians to the ancient Greeks and Romans, representations of Trajan ( arch of Constantine) and Antoninus Pius (reverse of a medal) being found with it. Roman emperors were sometimes depicted wearing a radiant crown, with pointed rays intended to represent the rays of the sun. According to Islamic tradition, the Prophet Mohammed may not be depicted representationally; however some religious artists have indicated his presence in historical scenes using an empty, flaming aureole as a placeholder.

In the circular form the nimbus constitutes a natural and even primitive use of the idea of a crown, modified by an equally simple idea of the emanation of light from the head of a superior being, or by the meteorological phenomenon of a halo. The probability is that all later associations with the symbol refer back to an early astrological origin (compare Mithras), the person so glorified being identified with the sun and represented in the sun's image; so the aureole is the Hvareno of Mazdaism. From this early astrological use, the form of "glory" or "nimbus" has been adapted or inherited under new beliefs.