The perceivably "freakish" nature of Goethe's mannish confessor is underscored by her father's gender-bending nickname for her, referring to her as his "misfashioned son" or "son gone awry" ("missratener Sohn"; WA 1.22 263).
I maintain that with the inclusion of Raphael's Transfiguration and its distorted figure of the maniac son, a third "misfashioned son" is included in the narrative landscape of Unger's novel.
The pairing of the "beautiful soul" and the "misfashioned son" as two opposing appellations for the same woman has its roots in Goethe's novel, but is made visual in Unger's text with her inclusion of Raphael's painting.
Ultimately, Luisa's development is as self-destructive as Caroline's, and, like her, she dies isolated and disillusioned as yet another "misfashioned son."
What these well-meaning men fail to realize is that their very attempts to "cure" the "misfashioned son"--to make "her" conform to their "reality"--may actually cause "her" insanity and drive "her" self-destructive detachment.