With a sacred combination, with an intriguing style rich in emotional intensity, Roberta Coni compares the Fabbri vase to Pandora’s box (which is called a vase in Italian, rather than a box), alluding to the myth in a symbolic vein and reinterpreting it with the voluptuousness that the Fabbri amarena cherry fruit encapsulates. If Pandora is driven by curiosity to open the vase given her by Zeus, unaware of the ill-fated consequences that her gesture would bring about, Roberta Coni concentrates precisely on the instant following the opening, focusing on the moment as the maximum expression of awareness and therefore as the genesis of the solution of rescue from the evils “released” that would strike humanity. With a citation reminding us of the school of Fontainebleau (Anonymous, Gabrielle d’Estrées with one of her sisters 1595), the “Fabbri Pandora” represents redemption: paraphrasing Dostoyevsky, it is now “femininity that will save the world”; hope, the last resort of disobedience, is woman and amarena cherries. It is sweet and sensual and exercises a compulsive attraction.