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In July 1877, Isabella writes to Julia. She and Jack are spending the summer with the three boys (Joe, Amory, and Gus) on the seashore outside of Boston. Isabella is very loving and protective of the boys, and happy to act as their guardian. In September, back in Boston, Isabella, Jack, and the boys attend the opening of the new Boston Public Gardens. They are warmly greeted by Mr. Valentine, a gardener who has been friends with Isabella for years.
A Boston newspaper comments on Isabella’s visible presence at the opening of the gardens. Jack comments on the obvious warmth between Isabella and Mr. Valentine, but she reassures him that there is nothing romantic in their friendship. Rather, she counters, “[I]s there anything more exciting than being understood?” (205).
Julia and Isabella share a quiet conversation during a family gathering. Isabella admits that, even though she loves caring for her nephews, she still longs for a greater purpose. Julia tells Isabella a secret: In addition to her four sons, she lost an infant son when he was very young. Julia thinks the best thing to do with deep grief is to quietly put it aside.
In the spring of 1878, Isabella is preparing to depart for Europe with her nephews. Before she goes, she attends a lecture at Harvard, where Norton has formed a society dedicated to studying Dante.
Isabella and her family travel through England and France. During this time, she corresponds with Norton and with a young woman named Maud Howe Elliott.
In London, Isabella meets the writer Henry James and the painter James McNeill Whistler; she is accompanied by her eldest nephew, Joe. Isabella is excited by their ideas about how best to display and celebrate art. Joe comments on how Isabella’s friendships with men, especially artists, writers, and intellectuals, seem to nourish her, and Isabella explains how these friendships have helped her to develop a sense of self. She is excited to see what the future holds for Joe as he begins his studies at Harvard.
Isabella goes to the Boston Zoological Gardens. She is friends with one of the employees, and he encourages her to take a walk with the two partially tame lions on leashes. The sight of Isabella walking with the lions causes a local sensation.
In 1882, Isabella meets Oscar Wilde at a party hosted by the friends she has made in Boston. Wilde helps her to realize that “for all the circles in which I had never been welcomed, it had never dawned on me that I might create my own” (239). Isabella is distracted by meeting a man named Frank Marion Crawford; she finds him extremely attractive and desirable.
Isabella is distracted by thoughts of Crawford; she continues to remain active in a lecture series and writes to Julia to express her hopes of one day acquiring a painting she has recently seen.
During the summer of 1882, Isabella relocates to Newport (a popular seaside resort for wealthy New Englanders). Crawford is also there, and he and Isabella begin an affair. She confides these experiences via a letter to Henry James, who is sympathetic to her emotions and desires.
Isabella wonders if Jack is aware of her affair; she still loves her husband deeply and appreciates their shared history even more as they grow older. She continues her affair with Crawford during the autumn months and plans to host a lecture series at her home. A professor will be lecturing on the history of Japan.
Isabella goes for ice cream with a group of female friends; most of the other women are writers, activists, or otherwise notable. Isabella wonders how she can make a meaningful contribution to society.
The affair between Isabella and Crawford continues through the autumn and winter of 1882.
Isabella causes a scene by going to a tobacco shop and purchasing cigarettes (it was not common for a woman to openly smoke). She also writes to Henry James, hinting that she believes Crawford’s affection for her is declining.
By the spring of 1883, Isabella is consumed by her affair: “I knew it was merely a painting, an image I would carry with me, yet I lived as though it were real” (264). Her friend Maud suggests that Isabella might travel to Asia since she has enjoyed hosting the lecture series on Asian history so much.
Isabella proposes a trip to Japan and India; initially, she plans to travel with Crawford. However, on Isabella’s birthday (April 14, 1883), Crawford fails to show up for a planned meeting, leaving Isabella devastated. She ends up traveling with Jack and enjoying their time together.
Between 1883 and 1884, Jack and Isabella travel from Japan to India, onwards to England, then to Venice, and then back to England. They are in London in August 1884 when they learn that Jack’s father has died. They immediately prepare to return to Boston, where they will move to the Gardner family estate (Green Hill). On the voyage back to Boston, Isabella writes to Crawford; it has now been two years since they began their affair in the summer of 1882. She rebukes him for his callousness and makes it clear that she will never have a relationship with him again.
Isabella reflects on the three portraits that were painted of her, and how they will endure after her death.
This section continues to explore Renewal and Reinvigoration Later in Life. In the period after she adopts her three nephews, Isabella continues to blossom into an independent and self-assured woman. As she grows older, Isabella feels more empowered to disregard concerns about social propriety. Her increasing confidence leads to more authentic connections and friendships. She realizes that she is not to blame for her earlier isolation. Rather, “I’m quite sure I’ve been looking in the wrong places” (224).
The real-life Isabella also befriended painters, writers, and intellectuals, including the Anglo-American author Henry James (Isabella and Henry James frequently exchanged letters, but the letters in the novel are Franklin’s fictional creations). In the novel, these friendships help Isabella feel less alone. She finally finds people who see the world in similar ways and who are not shocked by her choices. For example, Isabella confides freely to James about her extramarital affair. While she continues to seek friendships with men, she is also finally able to establish a circle of close female friends, most of whom are feminists, intellectuals, and free thinkers.
As Isabella expands her social circle, she often feels special connections to individuals who are socially ostracized or othered. Historically, Isabella also met the Irish writer Oscar Wilde, although it is unclear how much contact they had. By 1882, Wilde was a celebrated writer. He was also somewhat notorious for challenging norms around masculinity and heterosexuality (he would eventually serve a two-year prison term for his involvement in a same-sex relationship). The novel shows how Isabella’s unconventional way of viewing the world allows her to be more accepting and open-minded. She does not judge people because she too has suffered from exclusion. As Isabella’s friend Mr. Valentine notes, Isabella “always treats everyone the same—equals” (199). Through Isabella’s commitment to equality, the novel explores the Defiance of Social Norms and Expectations.
It is thematically appropriate that Isabella meets Frank Marion Crawford at the same gathering where Oscar Wilde is in attendance. Wilde pursues his desires even if they are dangerous, and eventually pays a steep price. Isabella will also suffer emotionally due to her desires—in her case, because of Frank’s ultimate disengagement.
Historically, Isabella and Crawford began a close friendship after meeting in 1882, when Isabella was 42 and Crawford was 28. The obvious connection and affection between them led to rumors and gossip. After meeting Isabella, Crawford began work on his second novel, Doctor Claudius, the plot of which involves a romantic relationship between a younger man and an older woman. However, there is no conclusive evidence that the two were ever romantically or sexually involved.
In the novel, Isabella’s affair with Crawford adds nuance and complexity to her character. She will pursue her desires even if they are harmful, and will always rationalize and justify her choices. Isabella bluntly states: “I did not even allow betrayal to enter my mind” as she begins her relationship with Crawford (247). Isabella seems to believe that the pleasure she finds with Crawford justifies pursuing a relationship that will likely hurt Jack, and she ignores the risks to her own reputation and emotional well-being. Isabella’s confidence and unabashed desire to have whatever she wants frees her to pursue an extramarital relationship heedless of consequences. In this way, the novel shows the darker side of freedom: When coupled with a sense of entitlement, it can render someone reckless.
In Intermezzo 3, Isabella reflects on three portraits of herself, all of which are displayed in the Isabella Stewart Gardner Museum. Two were painted by the American painter, John Singer Sargent, the first in 1888 and the second close to the end of her life in 1922; the artist Anders Zorn also painted a portrait in 1894. A novel that largely revolves around visual art can only use words to evoke objects that were designed to be perceived by sight. Thus, Franklin uses ekphrasis, which is the literary term for describing an artwork such as a painting or sculpture.
The portraits immortalize Isabella and transform her into an enigma. They capture aspects of her physical appearance at specific moments in time but reveal nothing about her emotions or inner life. It is the novel itself that takes license to imagine what her internal world may have consisted of.
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