In Roman Art
The halo represents an aura or glow of sanctity which was conventionally drawn encircling the head. It first appeared in the culture of Hellenistic Greece and Rome, possibly related to the Zoroastrian hvarena - "glory" or "divine lustre" - which marked the Persian kings, and may have been imported with Mithraism. Though Roman paintings have largely disappeared, save some fresco decorations, the haloed figure remains fresh in Roman mosaics. In a 2nd century AD Roman floor mosaic preserved at Bardo, Tunisia, a haloed Poseidon appears in his chariot drawn by hippocamps. Significantly, the triton and nereid who accompany the sea-god are not haloed.
In a late 2nd century AD floor mosaic from Thysdrus, El Djem, (illustration) Apollo Helios is identified by his effulgent halo. Another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse. The conventions of this representation, head tilted, lips slightly parted, large-eyed, curling hair cut in locks grazing the neck, were developed in the 3rd century BC to depict Alexander the Great (Bieber 1964; Yalouris 1980). Some time after this mosaic was executed, the Emperor began to be depicted with a halo, which was not abandoned when they became Christian; initially Christ only had one when shown on a throne as Christ in Majesty.
Read more about this topic: Halo (religious Iconography)
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