Between The Circular Horizon And The World View

1490,Lorenzo Costa,painter from Ferrara,completed a group of "Triumph"themed frescoes in the Basilica di San Giacomo Maggiore in Bologna:"The Triumphof Fame" and "The Triumph of Death".The circular composition and the complex performance manifested a wonder of image in the Bentivoglio Chapel.The idea andthe way in which Costa arranged the characters,texts and landscapes in the circularimage on the upper part of "The Triumph of Fame" have prominent features of geographical images,therefore,some scholars have pointed out the close relationshipbetween the image and medieval maps.However,as the continuous development of the geography in Quattrocento and the Cartography of Bentivoglio court,is the worldmap the only inspiration of Costa's creation?What is the intention of this expressionwith its strong regional directivity?On the basis of the previous research,in this paper,the author elaborates theimages of maps in 13th-15th century' s paintings including the theme "Triumph",together with the image of Costa and north italian art,revisits the geographic featuresof "The Triumph of Fame",to interpret the key geographic information contained inthe image,and ultimately shows Costa's double localization of "Rome" and"Bologna" through the idea of "Roman map" and the family's reality.The finalchapter deals with the development and spatial representation of geographical imagesin different themes in the context of Renaissance concept "Fame of the city",andpresents the pictural program of the "The Triumph of Fame" and "The Triumph of Death" in combination with family background,thus extends the discussion to theimage logic throughout the whole Chapel of Bentivoglio.