The William S. Heckscher archive (Heckscher-Archiv), housed in Warburg's Haus in Hamburg, boasts, among others, three letters addressed to Zofia Ameisenowa, a Polish researcher of Jewish extraction; from the 1920s onwards, she was concerned with publishing her studies on the historical permanence of iconographic motifs. In the letters, Heckscher refers to his lecture delivered at the congress in 1964, in which he pointed to the parallelism between the modus operandi of Aby Warburg (specifically, the reference alluded to Warburg's lecture on the frescoes in the Palazzo Schifanoia in Ferrara) and the "character" of his day and age. The letter represents an opportunity to make observations about Ameisenowa's method and her associations with the Jewish origins of Warburg and Ameisenowa herself. This chapter points to the models of temporality present in the writings of Warburg, Ameisenowa, and Heckscher, emphasising the insufficiency of the model of art history, underpinned by stylistic variation, to examine Jewish art. The "spherical method" proposed by Ameisenowa is one of the attempts to demonstrate the integrity of the permanence of motifs and, while it has been consigned to oblivion, it remains an original contribution to art history.