August’s mother had died when he was so young that he could scarcely remember her. Although his feeling for his mother was tender and reverent, she existed for him only in the little silhouette in the oval frame that his father kept on the night table beside his bed: a two-dimensional mother with a turned-up nose on one side and masses of curls on the other. For a while the boy had longed to penetrate that blackness, but later he was pleased that she had left behind only her shadow, as if his ardent, expansive feeling for her would have been unduly limited by too precise an image. But Joseph never forgave himself for failing to preserve his beloved Magda in a photograph—a mistake he was determined would not happen again. It was shortly after her death that the watchmaker first took little August to a photographer, and the child never ceased to marvel at the stern brown-and-white picture of himself in curls and knee-breeches, on a stiff cardboard backing. The new art of photography was scarcely a quarter of a century old, and much later, when the full meaning and destiny of the art were revealed to him, the early picture was to seem yet another fateful sign.