THE EXCLUSIVES. VOL. I. THE EXCLUSIVES. IN THREE VOLUMES. VOL. I. SECOND EDITION. LONDON: HENRY COLBURN AND RICHARD BENTLEY, NEW BURLINGTON STREET. 1830. LONDON: Printed by J. L. Cox, Great Queen Street, Lincoln's-Inn Fields. THE EXCLUSIVES. CHAPTER I. THE BOUDOIR. The boudoir of a woman of fashion exhibits in its history, if faithfully recorded, a picture of the manners, modes, and morals of the times; and, however little such things in themselves might deserve to be handed down, or registered as objects of imitation, yet to chronicle them for the day would not be without its use. The sensible part of mankind would laugh at the follies, and wonder at the extravagance, which the page of such ephemeral history unfolded; while the actors in the scene might possibly view in the mirror held up to them their own lives, and their own actions, in a new and truer light. Lady Tilney's boudoir,--the boudoir _par excellence_,--was not in fact a boudoir, according to the old legitimate meaning of the word. Indeed, Lady Tilney herself, the presiding deity of the sanctuary, professed her contempt of legitimacy in boudoirs, as well as in sovereigns; at least she did so in words, though, like many other professors, her words and actions frequently contradicted each other; and it may be questioned if there are any greater despots, than those who inveigh most against despotism. But to return from this digression to the boudoir. Lady Tilney's boudoir was destined to the reception of far other votaries than those of the old _rabattu_ god of love. No: her boudoir was visited by persons of a very different character from those who were formerly the frequenters of such a scene. Authors, poets, political intriguers, artists, and committees for the management of the state of society, formed the chief personages among those who figured there, and their business was of a very different complexion from that of the supposed use, or original meaning ascribed to a boudoir. In the former, of old, the painted harpsichord, the huge cabinet, the gigantic chimney-piece, the tapestried wall, were suited to the silken garb, and bag and sword, that formed the attire of the male part of its visitants; as well as to the hoop and fly-cap of the ladies who presided there. In this modern temple of idolatry, only a few of the ancient decorations were allowed a place, such as the marquetry cabinet, the _or-moulu_ clock, or vase of China; but for the rest, what a change!