In Christian sacred art (Eastern and Western churches), holy persons (saints) are depicted with a halo, a golden, yellow or white circular glow, around the head.在基督教神圣的艺术（东欧和西欧教会） ，圣地的人（圣人） ，是描述一个光环，金色，黄色或白色的圆形发光，周围的头部。 It is sometimes called a nimbus as well.它有时被称为灵气一样。
The halo appears in the art of ancient Greece and Rome, and was incorporated into Christian art sometime in the 4th century.哈洛看来，在艺术的古希腊和罗马，并已被纳入基督教艺术将在4世纪。 Round halos are used to signify saints.一轮光环，是用来标志圣人。 A cross within a halo is used to represent Jesus Christ.两岸在一个光环，是用来代表耶稣基督。 Triangular halos are used for representations of the Trinity.三角光环是用于交涉的三位一体。 Square halo are used to depict unusually saintly living personages.广场上的光环被用来描绘异常圣洁的生活人士。
In popular piety, this practice has led to the belief that saints during their earthly life actually walked around with a halo around their head.在流行的虔诚，这种做法已导致认为圣人，在他们的俗世生活其实走到一起的光环围绕其头部。 Of the many wonderful stories about saints, some report that a saint was literally glowing.在众多精彩的故事圣人，有报告说，圣人是字面上亮点。 This is called the aureole, a lemon-drop-shaped item that appears to radiate from the entire body of the holy being.这就是所谓的光环，一个柠檬滴形状的物品这似乎是从辐射整个身体的圣地。 Finally, there is also "glory," a glowing effusion used to cover up depictions of genitalia.最后，还有一种"荣耀" ，焕发出积液用来掩盖描写的生殖器。
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The Halo, also called Nimbus, in art, is a radiant circle or disk surrounding the head of a holy person, a representation of spiritual character through the symbolism of light.最后一战，也称为灵气，在艺术，是一个辐射圈或磁盘周边率领一个神圣的人，一个代表性的精神品格，是通过象征光明的。 In Hellenistic and Roman art the sun-god Helios and Roman emperors often appear with a crown of rays.在古希腊和古罗马艺术的太阳神太阳神和古罗马的皇帝，往往出现一个官方的射线。 Because of its pagan origin, the form was avoided in Early Christian art, but a simple circular nimbus was adopted by Christian emperors for their official portraits.因为它的异教的起源，形成，是避免在早期基督教艺术，但一个简单的圆形灵气通过基督教皇帝，为他们的官方肖像照。
From the middle of the 4th century, Christ was also shown with this imperial attribute, as was his symbol, the Lamb of God, from the end of the 4th century.来自中东的第四个世纪，耶稣也显示出这个帝国属性，因为是他的象征，上帝的羔羊，从去年底的第四届世纪。 In the 5th century it was sometimes given to angels, but it was not until the 6th century that the halo became customary for the Virgin Mary and other saints.在5世纪人们有时给天使，但直到6世纪这最后一战成了习惯，为圣母玛利亚和其他圣人。 For a period during the 5th century, living persons of eminence were depicted with a square nimbus.一个时期以来，在公元5世纪，生者322人描绘一个广场灵气。
The halo was used regularly in representations of Christ, the angels, and the saints throughout the Middle Ages.哈洛用定期在交涉的基督，天使，圣徒在整个中世纪。 Often Christ's halo is quartered by the lines of a cross or inscribed with three bands, interpreted to signify his position in the Trinity.往往是基督的最后一战是驻扎由线交叉或刻有三个波段，解释，以表明他的立场，在三一。 From the 15th century, however, with the growth of naturalism in Renaissance art, the nimbus created problems in representation.从15世纪，然而，随着自然主义在文艺复兴时期的艺术，灵气造成问题的代表性。 At first it was treated by some Florentine artists as a solid object seen in perspective, a disk fixed to the back of a saint's head.首先，它是治疗一些佛罗伦萨艺术家作为一个固体物体从整体的角度看，一个磁盘固定到后面的圣人的头部。 The inadequacy of this solution led to its decline in Italian art in the 16th century and to its abandonment by Michelangelo and Titian.不足的这个解决办法，导致其数量下降的，在意大利艺术早在十六世纪，并放弃由米开朗基罗和提香。 In Flemish painting of the 15th century, it began to be represented as rays of light; under the influence of the Counter-Reformation, which sought to restore a glorious conception to religious art, this form was adopted by Italian artists of the late 16th century, notably Tintoretto, as a realistically rendered light emanating from the holy person's head.在法兰德斯绘画的15世纪，它开始能够派的光芒;的影响下，反改革，力图恢复了光辉的构想，以宗教艺术，这种形式通过了意大利艺术家的16世纪末，特别是丁托列托（ Tintoretto ，作为一个现实，使轻源自圣地的人的头部。 This new interpretation was the standard one in the Baroque period and in most subsequent religious works.这种新的解释是标准之一，在巴洛克时期，而且在大多数随后宗教作品。
The halo is also found in Buddhist art of India, appearing from the late 3rd century AD.哈洛是还发现，在佛教艺术的印度，出现由已故3世纪的广告。 It is believed that the motif was brought to the East by Greek invaders.据认为，该题被带到东希腊侵略者。
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(Latin, related to Nebula, nephele, properly vapour, cloud), in art and archaeology signifies a shining light implying great dignity. （拉丁语，与星云，涅斐勒，妥善水汽，云） ，在艺术和考古学标志着一个光辉轻暗示伟大的尊严。 Closely related are the halo, glory, and aureole.密切相关的是光环，荣耀，光环。
Occasionally one even sees the planet Venus veiled by a disc of light.偶尔有人甚至认为，这个星球上金星微词，一盘轻。 The phenomena of discs and broad rings are more usual in the sun and moon.该现象的光盘和广阔的光环，更如常在太阳和月亮。 The Babylonians studied them diligently (Kugler, "Sternkunde und Sterndienst in Babel", II, 1).巴比伦人学习他们刻苦（库格勒， " sternkunde und sterndienst在通天塔" ，第二章， 1 ） 。 The terminology of these phenomena is vague.术语这些现象是含糊不清。 The disc or circle around the sun can be correctly called "anthelia", and the ring around the moon "halo".圆盘或圆绕太阳运行，可以正确地称为" anthelia " ，并响靠近月球的"光环" 。 A more usual name is "aureole", which in a restricted sense means an oval or elliptical ray of light like a medallion.更通常的名称是"光环" ，即在一个受限制的意识，就是一个椭圆形或椭圆形光芒就像一个奖章。 If the brightness is merely a luminous glow without definitely forming ring, circle.如果亮度只是一个发光辉光无绝对形成环形，并圈。 or ellipse, it is usually spoken of as a "glory".或椭圆，它通常是口语的一种"荣耀" 。 The types in nature in which rays or beams of light with or without colour challenge attention, suggested the symbolical use of the nimbus to denote high dignity or power.种类性质，其中射线束或轻或无颜色的挑战，注意，建议使用具有象征意义的灵气，以分别代表高尊严或权力。 It is thus that Divine characteristics and the loftiest types of humanity were denoted by the nimbus.因此，这是神的特点和最崇高类型的人类被记了灵气。
The custom of the Egyptian and Syrian kings of having themselves represented with a rayed crown to indicate the status of demigods, spread throughout the East and the West.定制的埃及和叙利亚国王有自己的代表，以刺冠，以显示地位demigods ，散布在整个东方和西方。 In Rome the halo was first used only for deceased emperors as a sign of celestial bliss, but afterwards living rulers also were given the rayed crown, and after the third century, although not first by Constantine, the simple rayed nimbus.在罗马的最后一战是第一只用于死者皇帝视为一个迹象，天体极乐世界，但之后的生活统治者，也被赋予了刺冠，并在第三个世纪，虽然不是第一次，由君士坦丁，简单的刺灵气。 Under Constantine the rayed crown appears only in exceptional cases on the coin, and was first adopted emblematically by Julian the Apostate.根据君士坦丁的刺冠，似乎只有在特殊情况下，对金银纪念币，并首次通过emblematically由朱利安的叛教者。 Henceforth the nimbus appears without rays, as the emperors now wished themselves considered worthy of great honour, but no longer as divine beings.此后，灵气似乎没有光线，作为皇帝，现在希望自己认为是值得非常荣幸，但已不再是神。
In early Christian art, the rayed nimbus as well as the rayless disc were adopted in accordance with tradition.在早期基督教艺术，也刺灵气以及为rayless光盘采用按照传统。 The sun and the Phoenix received, as in pagan art, a wreath or a rayed crown, also the simple halo.太阳和凤凰收到的，因为在异教徒的艺术，敬献了花圈，或刺冠，也是简单的光环。 The latter was reserved not only for emperors but for men of genius and personifications of all kinds, although both in ecclesiastical and profane art, this emblem was usually omitted in ideal figures.后者是预留不仅为皇帝，但男人的天才和拟人的种种，虽然无论是在教会和亵渎艺术，这个会徽是通常省略理想的数字。 In other cases the influence of ancient art tradition must not be denied.在其他案件的影响，古老的艺术传统，绝不能否认的。 The Middle Ages scarcely recognized such influence, and were satisfied to refer to the Bible as an example for wreath and crown or shield shaped discs as marks of honour to holy personages.中世纪时期几乎没有认识到这种影响力，并满意指圣经作为范例来敬献了花圈和官方或盾状碟片作为商标的荣誉，进入神圣的人物。 Durandus writes: durandus写道：
"Sic omnes sancti pinguntur coronati, quasi dicerunt. Filiae Jerusalem, venite et videte martyres cum coronis quibus coronavit eas Dominus. Et in Libro Sapientiae: Justi accipient regnum decoris et diadema speciei de manu Domini. Corona autem huiusmodi depingitur in forma scuti rotundi, quia sancti Dei protectione divina fruuntur, unde cantant gratulabundi: Domine ut scuto bonae voluntatis tuae coronasti nos" (Thus all the saints are depicted, crowned as if they would say: O Daughters of Jerusalem, come and see the martyrs with the crowns with which the Lord has crowned them. And in the Book of Wisdom: The Just shall receive a kingdom of glory, and a crown of beauty at the hands of the Lord, and a crown of this kind is shown in the form of a round shield. because they enjoy the divine protection of the Holy God, whence they sing rejoicing: O Lord, Thou hast crowned us with a shield of Thy goods-will.) (Rationale divin. offic., I, 3, 19, sq.). "碳化硅义务sancti pinguntur科罗纳蒂，准dicerunt 。 filiae耶路撒冷， venite等videte martyres暨coronis quibus coronavit的EAS主。 ET的书sapientiae ： justi accipient regnum decoris等diadema speciei德马努多米尼。电晕autem huiusmodi depingitur在形式上scuti rotundi ， quia sancti dei protectione divina fruuntur ， unde cantant gratulabundi ：主许超声斯库托bonae voluntatis tuae coronasti不" （因此所有的圣人是描绘，加冕，因为如果他们会说：噢，耶路撒冷的女子，来看看烈士与冠，其中耶和华加冕他们，而且在这本书的智慧：只应接受一个独立王国的荣耀，并冠之美在手中的主，和一个官方的这种表现在形式的圆盾，因为他们的背后有着神圣的保护圣地神，何时，他们唱的大喜日子：主啊，祢加冕为我们做挡箭牌，你的货物将） （理divin 。 offic 。来说，我和第3 ，第19 ，建筑面积计） 。
Furthermore the Middle Ages are almost exclusively accredited with the extension of symbolism inasmuch as they traced, sometimes felicitously, allusions to Christian truths in existing symbols, of which they sought no other origin.此外中世纪几乎完全认可与推广的象征意义，因为它们追查，有时felicitously ，典故，以基督信仰的真理，在现有的符号，其中，他们要求没有其他产地。 Durandus adds to the passage quoted above, the nimbus containing a cross, usual in the figures of Christ, signifying redemption through the Cross, and the square nimbus which was occasionally combined with it in living persons, to typify the four cardinal virtues. durandus增加了通过引用上述情况，灵气载有交叉，通常在数字基督的，以表扬他们赎回透过十字架上，广场上灵气这是偶然结合，它在生者，以典型地坚持四项基本原则，品德。 Judging by the principal monuments, however, the square nimbus appears to be only a variant of the round halo used to preserve a distinction and thus guard against placing living persons on a par with the saints.从主体纪念碑，不过，广场上灵气似乎是唯一的一个变种圆圆的光环用来维护区分，因此，防范，把生的人就等同于圣人。 The idea of the cardinal virtues, the firmness of a squared stone, or the imperfection of a square figure as contrasted with a round one was merely a later development.构思枢机美德，坚定性一平方石料，或美中不足的方形数字作为对比，具圆一只是后来的发展。 In the cross nimbus the association of the nimbus with an annexed cross must be conceded historical; but that this cross is a "signum Christi crucifixi" Durandus probably interprets correctly.在交叉灵气协会的灵气与所附两岸必须作出让步的历史，但这次跨世纪的是一个" Signum的基督教crucifixi " durandus可能解释为正确。
The nimbus of early Christian art manifests only in a few particular drawings, its relationship with that of late antiquity.该灵气的早期基督教艺术舱单只在少数，特别是图纸，其关系与晚期文物。 In the first half of the fourth century, Christ received a nimbus only when portrayed seated upon a throne or in an exalted and princely character, but it had already been used since Constantine, in pictures of the emperors, and was emblematic, not so much of divine as of human dignity and greatness.在上半年，四世纪时，基督教收到了灵气，只有当描绘成入座后宝座，还是在开天辟地和princely性质，但它已被用于自君士坦丁，在拍照的皇帝，并象征，而不是这么多神圣的，作为人的尊严和伟大。 In other scenes however, Christ at that time was represented without this emblem.在其他场景，但基督当时的代表，没有这个标志。 The "exaltation" of Christ as indicated by the nimbus, refers to His dignity as a teacher and king rather than to His Godhead. "提升" ，以基督为中心表示，由灵气，是指他的尊严，作为一个教师和景，而不是向他的神的源头。 Before long the nimbus became a fixed symbol of Christ and later (in the fourth century), of an angel or a lamb when used as the type of Christ.不久之前的灵气，成为一个固定的象征基督后（四世纪） ，一个天使还是羔羊的时候，作为类型的喊声。 The number of personages who were given a halo increased rapidly, until towards the end of the sixth century the use of symbols in the Christian Church became as general as it had formerly been in pagan art.有多少人士获得的光环迅速增加，直到接近年底的第六届世纪使用的符号，在基督教教会成了作为一般的，因为它以前在异教徒的艺术。
Miniature painting in its cycle represents all the most important personages with haloes, just as did the Virgil codex, so that the continuity of the secular and Christian styles is obvious.微型画在其周期代表了所有最重要的人物，与晕的，就像当年维尔吉尔法典，使延续现行的世俗和基督教风格是显而易见的。 This connection is definitively revealed when royal persons, eg, Herod, receive a nimbus.这一方面是明确显示，当皇家的人，如被希律，收到一份灵气。 Very soon the Blessed Virgin Mary always, and martyrs and saints usually, were crowned with a halo.很快有福了圣母玛利亚一如既往地和烈士和圣徒一般情况下，被冠以与光环。 More rarely the beloved dead or some person conspicuous for his position or dignity were so honoured.更很少心爱的人死亡或一些人比较突出，为他的立场或尊严被如此荣幸。 Saints were so represented if they constituted the central figure or needed to be distinguished from the surrounding personages.圣人者，使代表，如果他们构成了核心人物或需要加以区别，从周边人士。 The nimbus was used arbitrarily in personification, Gospel types, and the like.该灵气被强制使用中的人格化，福音类型等。 Official representations clearly show a fixed system, but outside of these there was great variety.官方交涉清楚地显示一个固定的制度，但外界对这些有很大的不同。 Works of art may be distinctly differentiated according to their birthplace.艺术作品的，可明显区别根据自己的出生地。 The nimbus in the Orient seems to has e been in general use at an early period, but whether it was first adopted from ecclesiastical art is uncertain.该灵气在世界的东方，似乎已e被普遍使用在较早的时期，但无论是先通过由教会艺术是不确定的。 In general the customs of the East and West are parallel; for instance, in the West the personifications appear with a nimbus as early as the third century and Christ enthroned no later than in the East (in the time of Constantine).在一般的习俗，东，西平行;例如，在西方拟人，似乎与灵气，因为早在公元三世纪和基督enthroned在不晚于东（在当时的君士坦丁） 。 Their nature makes it apparent that in every department of plastic art the nimbus is more rarely used than in painting.其性质使得它明显地在每一个部门的造型艺术了灵气，更很少使用超过绘画。
In early Christian times (as now) the round nimbus was by far the most usual designation of Christ and the saints.在早期基督教时代（现在）轮灵气，是目前为止最通常指定的基督圣徒。 The broad circle is often replaced by the ring of light or a coloured disc, especially on fabrics and miniatures.广大圈往往取代环轻或彩色光盘，特别是对面料和微缩模型。 In pictures without colour the nimbus is shown by an engraved line or a raised circlet, often by a disc in relief.在照片色彩的灵气，是表现出一个刻有线路或一个提出circlet ，往往由一个圆盘，在纾缓作用。 In the aureole blue indicates celestial glory, and it is used in the nimbus to fill in the surface, as are yellow, gray, and other colours while the margins are sharply defined in different tints.在光环蓝色显示天体的荣耀，它是用来在灵气，以填补在表面上，为黄色，灰色，及其他颜色，而利润率大幅划分为不同的色彩。 In many haloes the inner part is white.在许多晕的党内部分是白色。 In mosaics, since the fifth and sixth centuries, blue has been replaced by gold.在马赛克，因为第五和第六个世纪，蓝色已取代黄金。 From this period also, the frescoes show a corresponding yellow as seen for instance in paintings in the catacombs.从这个时期，同时，壁画，表现出相应的黄色看比如在画窟。 Gold or yellow prevails in miniatures, but there is a great deal of variety in illustrated books.金黄色或白色普遍存在的微缩模型，但有一个很大的不同，在说明了书籍。 Blue as a symbol of heaven has the preference, but gold, which later became the rule, gives a more obvious impression of light.蓝色象征着天上有偏好，但黄金，后来成为统治，给人更加突出的印象轻。
The explanation of the cross nimbus variety is obvious.解释交叉灵气品种是显而易见的。 Since the sixth century it has characterized Christ and the Lamb of God, but occasionally it is given to the other Persons of the Trinity.自六世纪它的特点是基督和上帝的羔羊，但偶尔，它是给其他人的三位一体。 In connection with it, in the fourth and fifth centuries there was a monogram nimbus.涉嫌有了它，在第四和第五个世纪有一个会标灵气。 The cross and the monogram of Christ were beside or above the head of Christ and the Lamb.两岸及会标基督的人的旁边或以上的首长，基督和羔羊。 In the fifth century they were brought to the upper edge of the nimbus and finally both were concentrically combined with it.在第五世纪，他们被带到上边缘的灵气，最后都集中结合。 In more recent times the monogram and the monogram nimbus have become more rare.在最近的时候，会标和会标灵气变得更罕见。 The letters Alpha and Omega for Christ and M and A for Mary, were intended for monograms and frequently accompanied the nimbus.信访Alpha和欧米茄为基督和M一为玛丽，打算用于monograms ，而且经常伴随着灵气。
On the other hand, several pictures of Christ in the catacombs, dating from the fourth century, indicate the period when the nimbus was first used in the way familiar to us.在另一方面，一些照片的基督在地窟，建于四世纪时，应注明期时，灵气是第一次使用的方式，我们熟悉的。 Besides the Roman catacombs others, especially that of El Baghaouat in the great Oasis of the Libyan desert, must be taken into account.除了罗马窟里其他人，特别是萨尔瓦多baghaouat在大绿洲的利比亚沙漠，都必须加以考虑。 For the period succeeding Constantine, mosaics furnish important evidence since they present not only very numerous and usually definite examples of the nimbus, but have a more official character and give intelligent portrayals of religious axioms.这一期间的接替君士坦丁，马赛克提供重要的证据，因为它们目前不但非常多，而且通常是明确的例子了灵气，但有更多的官方性质，并给予智能描绘宗教公理。 Although allowance must be made for later restorations a constant development is apparent in this field.虽然津贴必须为后来修复不断发展显然，在这一领域的合作。 The treatment of the nimbus, in the illuminating and illustrating of books, was influenced by the caprices of the individual artist and the tradition of different schools.治疗的灵气，在照明及说明的书籍，是受首随想曲的个人艺术家和传统不同的学校。 In textiles and embroidery the most extensive use was made of the nimbus, and a rich colour scheme was developed, to which these technical arts are by nature adapted.在纺织和刺绣最广泛使用了该灵气，和丰富的色彩计划是发达国家，而这些技术性的艺术是从本质上适应。 Unfortunately the examples which have been preserved are only imperfectly known and the dates are often difficult to determine.不幸的例子，其中有保存下来，是唯一不完美的已知和日期，往往难以确定。
Sculpture presents little opportunity for the use of the nimbus.雕塑呈现鲜有机会使用的灵气。 In some few instances, indeed, the nimbus is painted on ivory or wood carvings but more often we find it engraved or raised in relief.在一些少数情况下，的确，灵气，是髹上象牙或木雕，但更常常我们觉得这是刻在或所提出的纾缓作用。 Figures with this emblem are rare.数字与这个会徽是罕见的。 On the sarcophagi we find that Christ and the Lamb (apart from the sun) alone appear with a circle or disc, the Apostles and Mary, never.对石棺我们发现基督和羔羊（除太阳） ，仅出现一个圆形或影碟，使徒和玛丽，从来没有。 In ivory neither Mary nor Christ is so distinguished.在象牙既不玛丽，也就是基督如此杰出。 In the course of centuries the Christian idea that God, according to Holy Scripture the Source of Light and Divine things, must always be given a halo.在这个过程中的几个世纪，基督教主张上帝，按圣经的来源轻型和神圣的事情，都必须始终给予的光环。 became more pronounced.也变得更为突出。 This applied to the three Divine Persons and their emblems, as the Cross, Lamb, Dove, Eye, and Hand; and since, according to Scripture, saints are children of Light (Luke, xvi, 8; John, xii, 36), as such they should share the honour.这适用于三大神圣者和他们的标志，因为在十字架上，羊肉，鸽子，眼睛和手;以来，根据圣经，圣人是儿童轻（路加福音十六， 8 ;约翰， 12 ， 36 ） ，因此，他们应该分享荣誉。
Preference was shown for the garland or crown (corona et gloriae corona) of Christ which was also bestowed by God as a reward upon the saints, either spiritually in this life or in the Kingdom of Heaven (Ps. xx, 4; Heb., ii, 7 sq.).偏好表现为加兰或皇冠（电晕等gloriae电晕）的基督这也是赐予的，上帝作为奖励后，圣人，无论在精神上，在此生活，或在天国（雅歌XX条， 4条;以弗所书，二， 7平方米） 。 Garlands and crowns of glory are frequently mentioned in the Bible (I Peter v, 4; Apoc., iv, 4, etc.).花环冠的荣耀，是经常提到的在圣经（彼得五，四;载脂蛋白C ，四，四，等等） 。 The nimbus also takes the form of a shield to emphasize the idea of Divine protection (Ps. v, 13).该灵气的另一种形式的挡箭牌，强调理念的保护神（诗篇五， 13 ） 。 A truly classic authority for the explanation of the nimbus may be found in Wis., v, 17: the Just shall "receive a kingdom of glory, and a crown of beauty at the hands of the Lord: for with His right hand He will cover them, and with His holy arm He will defend them."真正的经典机关为解释的灵气，可发现在威斯康辛州，五， 17 ：刚刚应"接受一个独立王国的荣耀，并冠之美在手中主：与他的右手，他将掩护他们，并与他的神圣的手臂，他将捍卫他们的" 。 (In Greek, "Holds the shield over them".) （希腊文" ，持盾牌的超过他们" 。 ）
Whereas in pagan art, the rayless nimbus signified neither holiness nor Divine protection but merely majesty and power, in Christian art it was more and more definitely made the emblem of such virtue and grace, which emanating from God, extends over the saints only.而在异教艺术，也rayless灵气标志着既不圣洁，也没有神的保护，而仅仅是陛下和力量，在基督教艺术，它被越来越多的绝对标志，这种美德和风度，其中来自上帝，并延伸过圣人只。 Urban VIII formally prohibited giving the nimbus to persons who were not beatified.市区八正式禁止给予灵气来的人不是真福。 Since the eighteenth century the word "halo" has been incorporated into the German language.自十八世纪以来，这个词的"光环" ，已被纳入德国的语言。 In Western countries John the Baptist is the only saint of the Old Testament who is given a halo, doubtless because before his time the grace of Christ had not yet been bestowed in its fullness.在西方国家，施洗约翰是唯一的守护神旧约的人是一个光环，毫无疑问，因为在此之前，他的恩典基督尚未赐予的，在它的丰满。
We have already found that the aureole was be considered exclusively a device of Christian art, especially as it was reserved at first for the Divinity, and later extended only to the Blessed Virgin.我们已经找到了这光环被视为纯粹是一个装置的基督教艺术，特别是因为它是在保留第一，为神了，后来延长了，只是向小圣。 Instead of simple beams it often consists of pointed flames or is shaded off into the colours of the rainbow.而不是简单的光束，它常常构成指出着火燃烧或者是绿荫起飞到颜色的彩虹。 This form as well as the simple nimbus, by the omission of the circumference, may be transposed into a garland of rays or a glory.这种形式以及简单的灵气，所遗漏的周长，可被转变为花环的射线或荣耀。 A glory imitating the sun's rays was very popular for the monstrances, in other respects the lunula suggests the nimbus only because the costliness of the material enhances the lustre. 1荣耀模仿太阳的光线是很受欢迎，为monstrances ，在其他方面， lunula暗示灵气，只是因为costliness的材料提高了光泽。 The aureole obtained the Italian name of mandorla from its almond shape.该光环得到了意大利的名字mandorla从其杏仁形。
In Germany the fish was agreed upon for the symbol of Christ, or a fish bladder if it had the shape of a figure 8.在德国鱼议定为象征基督的，或者是一条鱼膀胱如果它有形状的一个数字8 。 God the Father is typified in later pictures by an equilateral triangle, or two interlaced triangles, also by a hexagon to suggest the Trinity.上帝的父亲是典型的，在后来的照片是由一个等边三角形，两个三角形的交织中，还必须采取一种六边形建议三一。 If there is no circle around the cross nimbus, the three visible arms of the cross give the same effect.如果没有绕过跨灵气，三有形武器的交叉给予相同的法律效力。 Occasionally the mandorla is found composed of seven doves (type of the Seven Gifts of the Holy Ghost), or of angels.偶尔mandorla发现组成七个鸽（类型的七个礼物的圣灵） ，或天使。 The latter are used in large pictures of the Last Judgment or heaven, for instance in the "glories" of Italian domes.后者则是用于在大型照片上的判断或天堂，例如在"辉煌"的意大利语穹顶。 In painting, haloes of cloud are sometimes used for delicate angel heads, as in Raphael's works.在绘画，晕云，有时被用来为微妙天使元首，在拉斐尔的作品。 Angels also form a nimbus around the head of the Mother of God.天使也形成一个灵气靠近头部的天主之母。 She is also given the twelve stars of Apoc., xii, 1.她亦是鉴于十二颗星的载脂蛋白C ，十二， 1 。 Saint John Nepomucene has five or seven stars because of the great light which hovered over his body when he was drowned in the Moldau by order of King Wenceslaus.圣约翰内波米塞娜有5年或7颗星，因为伟大的灯光，盘旋而他的尸体时，他被淹死在moldau以命令的国王wenceslaus 。
Artists have developed many varieties of the nimbus and aureole.艺术家，曾开发了许多品种的灵气和光环。 Since the Renaissance it has been fashioned more and more lightly and delicately and sometimes entirely omitted, as the artists thought they could suggest the characteristics of the personage by the painting.自文艺复兴时代已经过时，越来越多轻率和微妙，有时甚至完全省略，因为艺术家以为他们可以建议的特点，人物所画。 It is true that the nimbus is not intrinsically a part of the figure and at times even appears heavy and intrusive.这是事实的灵气，是不是有内在的一部分，这个数字有时甚至显得沉重和侵扰。 A distinguishing symbol may not, however, be readily dispensed with and with the omission of this one the images of the saints have often degenerated into mere genre pictures and worldly types.一个区分的标志，可能，但不能轻易放弃不用，并与遗漏的这一个形象的圣人往往堕落成仅仅是体裁的图片和世俗化类型。 A delicate circlet of light shining or floating over the head does not lessen the artistic impression, and even if the character of Christ or the Madonna is sufficiently indicated in the drawing, yet it must be conceded that the nimbus, like a crown, not only characterizes and differentiates a figure but distinguishes and exalts it as well.一个微妙的circlet轻闪烁或浮动超过头部不减少的艺术印象，而即使性格基督或玛丹娜足以表明，在绘画，但又必须承认，灵气，像一个皇冠，而不是只特点和区别一个数字，但区别于和exalts它当作好。
G
Gietmann克gietmann
Transcribed by Michael C.
Tinkler转录由Michael长tinkler
The Catholic Encyclopedia, Volume
XI天主教百科全书，体积喜
Nihil Obstat, February 1, 1911.
nihil obstat ， 1911年2月1日。 Remy Lafort, STD, Censor
Imprimatur.人头马lafort ，性病，检查员imprimatur 。 +John Cardinal Farley, Archbishop of
New York +约翰farley枢机主教，大主教纽约
This subject presentation in the original English language这一主题演讲，在原有的英语
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