It would be reductive to sing Davoli’s praises as a hyper-realist photographer, although his technique has indeed reached levels of refined quality, demanding more than a quick mention for this, but rather deserving an accurate analysis of the use of the medium; but to dwell on this aspect would mean not entering his work in depth and restricting our considerations to a polished (and very captivating) surface sheen. The Fabbri Still Life, mindful of the 16th-century painterly tradition (on account of its careful arrangement of the elements and its luministic style in a Caravaggio mould) is a visual proposition that engages the thought above all through the oxymoronic arrangement of the amarena cherries: the amarena on the table, shrivelled and in solitary natural decadence even though just picked, like on a mortuary bed, is contrasted with the material splendour of the amarena cherries inside the Fabbri fruit bowl; the result is a conceptual system close to the Vanitas that the still life represents by tradition, but the surprise is the new allegorical interpretation of the Fabbri amarena cherry, which becomes the emblem of immortality.