The house at Albany is decribed as a "large, square, double house [. . .] On the third floor there was a sort of arched passage, connecting the two sides of the house, which Isabel and her sisters used in their childhood to call the tunnel and which, though it was short and well lighted, always seemed to the girl to be strange and lonely, especially on winter afternoons" (III, 21).

When Lord Warburton introduces Isabel to Lockleigh, "it seemed to her a matter of course that it should be a noble picture. As they saw it from the gardens, a stout grey pile, of the softest, deepest, most weather-fretted hue, rising from a broad, still moat, it affected the young visitor as a castle in a legend" (IX, 82).

"Isabel saw no more of her attributive victim [Lord Warburton] for the next twenty-four hours, but on the second day after the visit to the opera she encountered him in the gallery of the Capitol, where he stood before the lion of the collection, the statue of the Dying Gladiator" (XXVIII, 362).

As the narrator describes Pansy Osmond, he states that "she had the style of a little princess [. . .] It was not modern, it was not conscious, it would produce no impression in Broadway; the small, serious damsel , in her stiff little dress, only looked like an Infanta of Velasquez.  This was enough for Edward Rosier, who thought her delightfully old-fashioned" (XXXVII, 400).
 

General View of San Pietro from the Piazza (1976)

"I may not attempt to report in its fullness our young woman's response to the deep appeal of Rome, to analyse her feelings as she trod the pavement of the Forum or to number her pulsations as she crossed the threshold of Saint Peter's.  It is enough to say that her impression was such as might have been expected of a person of her freshness and her eagerness" (XXVII, 310).
 
 

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