he consciousness of clothing depiction on Caillebotte's "urban strangers" now established through both Le Déjeuner and the study of Le Pont de l'Europe, we continue to the complete Le Pont de l'Europe (1876), which shows Caillebotte's isolation of his "urban strangers" intensifies with the inclusion of romantically eligible women. Like the study, Le Pont de l'Europe's "urban stranger's" posture and position serve to isolate him. Perspective effects, emphasized by Karen Wilkin in her exhibition notes for the Gustave Caillebotte: Urban Impressionist exhibition at the Art Institute of Chicago, also play a major role in creating the "alienation and melancholy" (Wilken 51). Le Pont de l'Europe is different from the study in that it fleshes out the man on the left into a clear example of a flâneur. He wears a gray double-buttoned veston and a swept back top hat. His shirt collar is propped up and held in place with a neat black bow. The "urban stranger" on the right in contrast wears a plain loose-fitting coat and round melon hat. He clearly represents the mainstream trend of simple clothes. Unlike in Le Déjeuner, where the isolation effect was mitigated by class similarity and privilege, no such link exists between Le Pont de l'Europe's "urban stranger" and the flâneur. Indeed, the flâneur even glares at the "urban stranger". The reason behind this intensity can only be explained by the inclusion of the romantically eligible woman to the right of the flâneur whose eligibility was emphasized in the study. Also, it is interesting to note the flâneur's physical similarity to Caillebotte himself. Rosanne H. Lightstone in her essay "Gustave Caillebotte's Oblique Perspective" using a photo taken of Caillebotte in 1876 argues that Le Pont de l'Europe is in fact a self-portrait (Lightstone 759), giving further credence to the notion that Caillebotte is personally invested somehow in these paintings. Therefore, the isolation effect on the "urban stranger" correlates with inclusion of the eligible woman and his masculine dress and furthermore, because of photographic evidence, there appears to be some personal motivation behind these very conscious depictions.