In the carefully dimmed light of the Pinacoteca of the Veneranda Biblioteca Ambrosiana, Jago’s Natura Morta stands as a haunting contemporary counterpoint to Caravaggio’s celebrated Basket of Fruit. This conjunction of eras — suspended between the philological observance of classical heritage and the critical force of the present — gives rise to a discourse without
interruption, which, in Aby Warburg’s vision, transforms the history of art into a mnemonic path: along it, eachwork resonates with the presence of those that camebefore it and may be reinterpreted through those it has inspired.