Summary of Chapter 1

CHAPTER 1 – "MASKS AND MIRRORS"

Catherine Berrington's evening unfolds against the bustling backdrop of London's Covent Garden in May of 1812, as she and her parents head to the Theatre Royal. In the carriage, Mrs. Berrington fusses over Catherine's every detail, instructing her to display the newly purchased necklace—an expensive token her father allowed—so that no potential suitor can miss it. Catherine, though appreciative of the upcoming performance of Much Ado About Nothing, feels stifled by her mother's relentless push, suspecting that "theatre nights" serve less as cultural treats and more as strategic arenas for society's marriage market. Inside the grand foyer, chandeliers glitter above fashionable attendees, and Catherine momentarily enjoys the spectacle—until her mother steers her toward Mrs. Clayton and her daughter, Miss Clayton. The Claytons spare no time offering faint praise and then slyly belittle the Berringtons' social standing and finances. Mrs Clayton targets Catherine's gown, but then Catherine's mother retaliates by hinting that Miss Clayton was wearing a dress at another occasion too, hinting that they do not have enough money to have a full wardrobe for their daughter. Though Catherine's cheeks heat with embarrassment, she keeps her composure. Even so, the moment drives home the unspoken class divide and the "power game" that so many young ladies (and their mothers) play. Catherine quietly resolves that, unlike the Claytons, she will not derive superiority from belittling others. Not long after, while Catherine tries to regain her equilibrium, her mother remains vigilant for the next group of acquaintances. At that instant, Catherine's gaze drifts across the crowded hall—and lands on a tall, dark-haired gentleman. A pang of familiarity bolts through her, she knows why. Catherine's mind flickers with a four-year-old memory: a day in Hyde Park when she was about thirteen. She saw a young man—gently feeding ducks and swans alongside a little girl. The man's kindly smile and affectionate manner toward his sister deeply impressed Catherine; his sister shyly shared her bread with her, prompted by him. She had dubbed him her secret "hero." The recollection ends as she admired if this imposing figure at Covent Garden, now grown into a man of imposing presence. Before Catherine can gather her thoughts, Mrs. Berrington performs a near-ambush of the stranger, stopping directly in his path and all but demanding his notice. To Catherine's mortification, he is introduced as Lord Alexander Nevill, the Marquess of Aylesbury—a powerful peer in the ton. Though taken aback by Mrs. Berrington's bluntness, Nevill remains unfailingly polite. Catherine, blushing violently, can barely push out a greeting. Catherine, burning with embarrassment, tries to form coherent responses. Initially, there is no immediate "spark"—the conversation is stilted. Nevill asks polite questions; Catherine answers dutifully. Yet a subtle shift occurs when Catherine, half-nervously, alludes to Much Ado About Nothing and its themes of masks, deception, and vulnerability in society. She remarks that people in these circles often speak in code, never revealing their genuine selves. Nevill, who has grown jaded with endless superficial gatherings, is caught off guard by Catherine's earnestness. This direct mention of "masks" intrigues him: here is a young debutante unafraid to say the sort of truth most politely hide. In a moment of unplanned boldness, she comments on Nevill's decorative lorgnette, subtly implying it is more affectation than necessity. Though this leaves him briefly startled, Catherine refuses to shrink. Something about him—the intangible recollection of Hyde Park, coupled with the unsettling air of superiority—makes her want to stand her ground. She manages to dismiss him first by finishing the exchange, dipping a curtsy, and walking away before he can formally excuse himself. Nevill, left mid-sentence, is left oddly impressed—and a bit frustrated—by this young woman's quiet boldness. As Catherine becomes emboldened by Nevill's attentiveness, a different memory surfaces—one from just a short while ago at Almack's, where Catherine, standing at the edge of the ballroom, overheard this very gentleman complaining to a friend that the evening was dull, the debutantes "simpering" and "uninteresting." Hearing his cynicism had stung her pride, but it also spurred a quiet resolve to never be that mild, meek girl who fades into the background. She was so affronted that she chose to slip away rather than endure his scornful tone, effectively removing herself from his orbit before he could notice. Now, at the theater, Catherine realizes that same dismissive aristocrat stands before her—and yet he seems more receptive than she would have guessed. The next morning, Nevill mentions his interesting conversation to his mother - a lady suggesting that one needs to be brave enough to take their mask off and be ready to be vulnerable if they want to find happiness, which his mother finds interesting and asks for the young lady's name,and Nevill answers, Miss Catherine Berrington.

According to Jane Rendell in a Pursuit of Pleasure, the word dandy may have originated from "jack-a-dandy", a Scottish description of a person dressing up at a fair. The word dates back to the late 18th century/early 19th centuries. In the Dictionary of the Vulgar Tongue, published in 1788, Francis Grose describes the dandy:

Dandy. That's the dandy; i.e. the ton, the clever thing
Dandy. grey Russet. A dirty brown. His coat's dandy grey russet the colour of the Devil's nutting bag.
Dandy. Prat. An insignificant or trifling fellow.

Chapter 2

Hyde Park section of "Improved map of London for 1833, from Actual Survey. Engraved by W. Schmollinger, 27 Goswell Terrace"

Chapter 3 - White's

White's is a gentlemen's club in St James's, London. Founded in 1693 as a hot chocolate shop in Mayfair, it is London's oldest club[1] and therefore the oldest private members' club in the world. It moved to its current premises on St James's Street in 1778. 

Illustration from Old and New London by Edward Walford (Cassell, c 1880). In 1811 a bow window was added to the facade. It was in this window that Beau Brummell (see website) sat and held court until his downfall in 1816, passing judgment on passersby, with his inner circle.  

The Royal Academy of Arts was founded in 1768 by a group of 40 prominent artists. Its first president was Sir Joshua Reynolds. 

Members were given the chance to make a name for themselves at the annual Summer Exhibition. This juried exhibition (shown in the print above), held each year from May to August, was one of the highlights of the season, and invitations to the Royal Academy dinner before a private viewing were much sought after. Each year, there were more paintings on exhibit, the numbers becoming so great that the pictures were hung from floor to ceiling, with frames bumping up against each other. Artists competed for the best placement of their works, the most coveted positions being "on the line," a molding that ran around the room just above eye level.

"Exhibition Room, Somerset House" by Thomas Rowlandson and Auguste Pugin, from Ackermann's Microcosm of London, 1808. Collection of Candice Hern.

Chapter 17

The barouche had a collapsible hood over the back and was considered a summer vehicle used for driving in the great parks. It was drawn by a pair of high-quality horses to complement the expensive and fashionable vehicle. 

Chapter 20

Tattersall's Repository reigned supreme throughout the Regency period at a time when gentlemen vied with one another in being well mounted, and members of the ton drove in stylish carriages with a pair or four in hand. It was mostly an auction house for everything horse.

Chapter 24
The Tyger

By William Blake

Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?

In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat.
What dread hand? & what dread feet?

What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp.
Dare its deadly terrors clasp?

When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?

Copyright Credit: Blake, William. "The Tyger." ​​​​​​​​​​​​​​Songs of Experience. ​​​​​​​Facsimile reproduction of the 1794 illuminated manuscript, published by The William Blake Trust and the Tate Gallery, 2009, in ​​​​​​​William Blake: The Complete Illuminated Books.

The gold broch Nevill gives to Catherine in Vauxhall.

Chapter 28

The ruby set lent by Nevill's mother for the ball at Carlton House