The representation of Vilnius in the novella is unique in Lithuanian literature. Ramonas depicts the city as a synthesis of its past and present, paralleling its history with contemporary everyday life. Hence, the plot is less a delineation of the protagonist’s love affair than the exploration of the “invisible” spirit of the place. Ramonas’s narrative topography of Vilnius is limited to the valley containing the Old Town and the surrounding forested hills, the Neris and Vilnia rivers, and several lakes and few old manor houses placed outside the city. Other areas of Vilnius, in particular, the newly built Soviet-era residential districts have no presence in the writer’s vision of the place. Ramonas paints Vilnius in illuminating colours of sunrise, with the main artery of the Old Town, Pilies Street, sustaining the aura of the place. The street serves as a spiritual connector, joining sacred sites of Vilnius, the Cathedral and Aušros Gate, in particular. In general though, Ramonas’s Vilnius is a spacious and wondering place, freely drawn in the imagination of the protoganist. Because it does not have to follow an established pattern of city development nor incoporate much of the existing urban infrastructure, the narrative cartography of the novella is less restrictive and, hence, more deligtful than any official map of Vilnius. So while Ramonas frames his vision of Vilnius within the specific physical limits of local topography, the city nonetheles comes out as an open and expansive, yet at the same time, domestic and familiar place.