About this time, Morniel began pulling paintings out frantically. He’d show them to Glescu, who would gurgle as if he were forcing down a retch, and pull out some more paintings.

“I don’t understand it,” Mr. Glescu said, staring at the floor, which was strewn with canvases tacked to their wooden stretchers. “This was obviously before you discovered yourself and your true technique. But I’m looking for a sign, a hint, of the genius that is to come. And I find—” He shook his head dazedly.

“How about this one?” Morniel asked, breathing hard.

Mr. Glescu shoved at it with both hands. “Please take it away!” He looked at his forefinger again. I noticed the black dot was expanding and contracting much more slowly. “I’ll have to leave soon,” he said. “And I don’t understand at all. Let me show you something, gentlemen.”

He walked into the purple box and came out with a book. He beckoned to us. Morniel and I moved around behind him and stared over his shoulder. The pages tinkled peculiarly as they were turned; one thing I knew for sure—they weren’t made out of paper. And the title-page…

The Complete Paintings of Morniel Mathaway, 1928–1996.

“Were you born in 1928?” I demanded.

Morniel nodded. “May 23, 1928.” And he was silent. I knew what he was thinking about and did a little quick figuring. Sixty-eight years. It’s not given to many men to know exactly how much time they have. Sixty-eight years—that wasn’t so bad.

Mr. Glescu turned to the first of the paintings.

Even now, when I remember my initial sight of it, my knees get weak and bend inward. It was an abstraction in full color, but such an abstraction as I’d never imagined before. As if all the work of all the abstractionists up to this point had been an apprenticeship on the kindergarten level.