title: Ribchester (horse)

abstract: Ribchester is an Irish-bred, British-trained Thoroughbred racehorse. As a two-year-old in 2015 he finished second in the Gimcrack Stakes on his second racecourse appearance and then won the Group Two Mill Reef Stakes. In 2016 he was rated the best British-trained colt of his generation and was one of the top milers in Europe, winning the Jersey Stakes at Royal Ascot and the Prix Jacques Le Marois in France as well as being placed in the 2000 Guineas, Sussex Stakes and Queen Elizabeth II Stakes. In 2017 he added further major victories in the Lockinge Stakes, Queen Anne Stakes and Prix du Moulin

text:
# Ribchester (horse)

**Ribchester** (foaled 25 March 2013) is an Irish-bred, British-trained Thoroughbred racehorse. As a two-year-old in 2015 he finished second in the Gimcrack Stakes on his second racecourse appearance and then won the Group Two Mill Reef Stakes. In 2016 he was rated the best British-trained colt of his generation and was one of the top milers in Europe, winning the Jersey Stakes at Royal Ascot and the Prix Jacques Le Marois in France as well as being placed in the 2000 Guineas, Sussex Stakes and Queen Elizabeth II Stakes. In 2017 he added further major victories in the Lockinge Stakes, Queen Anne Stakes and Prix du Moulin

## Background

Ribchester is a bay colt with a small, oddly-shaped white star and white coronet markings on his hind legs bred by Audrey Thompson & M O'Brien of the County Tipperary-based Kilmore Stud. As a foal in November 2013 he was put up for auction at Goffs and sold for €78,000 to the bloodstock agent Jamie Railton. In October 2014 the yearling returned to the Goffs sales ring and was bought for €105,000 by David W Armstrong's Chorley-based Highfield Farm. The colt, who is named after the village of Ribchester, was sent into training with Richard Fahey at Malton in North Yorkshire.

He was sired by Iffraaj, who won the Group 2 Park Stakes twice and the Lennox Stakes once, as well as finishing second in the 2006 July Cup. His other progeny have included Rizeena, Chriselliam, Hot Streak and Wootton Bassett. Ribchester's dam Mujarah showed no racing ability whatsoever, finishing unplaced in all five of her races. Her grand-dam Mehthaaf won the Irish 1,000 Guineas and was a half-sister to Elnadim as well as being closely related to Dubai Millennium and Timber Country.

## Racing career

### 2015: two-year-old season

Ribchester made his racecourse debut in a maiden race over six furlongs at Doncaster Racecourse on 9 July. Starting at odds of 8/1 in an eight-runner field he took the lead a furlong out but was overtaken and beaten three quarters of a length by the William Haggas-trained Melabi. Despite his defeat, the colt was then stepped up sharply in class for the Group Two Gimcrack Stakes at York Racecourse and started a 25/1 outsider. Ridden as on his debut by Tony Hamilton he overcame a poor start and stayed on well in the closing stages to finish second behind Ajaya with Raucous in third place. After the race he was purchased privately by Sheikh Mohammed's Godolphin organisation but remained in training with Fahey.

On his first appearance for his new owner Ribchester was partnered by James Doyle and started the 13/8 favourite for the Group Two Mill Reef Stakes at Newbury Racecourse on 19 September. The best of his five opponents appeared to be Raucous and the Godolphin second string Log Out Island (runner-up in the Norfolk Stakes). After racing towards the rear of the field he moved up on the outside, overtook Log Out Island approaching the final furlong and despite looking "green" (inexperienced) he stayed on to win by one and a quarter lengths. Doyle commented "It was a solid performance... he was just pricking his ears a bit in the end. He's a big, raw type with plenty of scope and I would imagine that he will be much better next year" whilst Fahey said "He's a big baby and it's amazing how a race can bring horses on. York verified how good we thought he was and today has confirmed it. If I've got a Guineas horse, it's him."

### 2016: three-year-old season

Ribchester began his second season with a trip to France for the Prix Djebel over 1400 metres on heavy ground at Maisons-Laffitte Racecourse on 7 April. He finished second to Cheikeljack but was relegated to fifth for hampering the third-placed Attendu when veering to the left in the closing stages. Twenty-three days after his run in France, Ribchester started a 33/1 outsider for the 208th running of the 2000 Guineas over the Rowley Mile course at Newmarket. Ridden by William Buick he raced in mid-division before staying on in the last quarter mile to finish third of the thirteen runners behind Galileo Gold and Massaat.

At Royal Ascot in June Ribchester was again partnered by Buick when he was dropped in distance for the seven-furlong Jersey Stakes in which, as a Group Two winner, he had to carry a five-pound weight penalty. The improving handicapper Castle Harbour started favourite with Ribchester joint second in the betting on 7/1 alongside the gelding Gifted Master (Autumn Stakes, Pavilion Stakes). Ribchester was always going well, moved up to join the leaders two furlongs out and drew away in the closing stages to win by two and a quarter lengths from the Michael Stoute-trained Thikriyaat. Fahey admitted that he had "chickened out" of running the colt in the more competitive St James's Palace Stakes but added "Mentally, the horse is a huge baby and still backward, and he's going to make a lovely four-year-old. I was worried because this race was quite competitive, but he destroyed them"

The Sussex Stakes at Goodwood Racecourse on 27 July included some top-class older horses including Toormore and Lightning Spear but the betting was dominated by three-year-old colts with Ribchester starting the 8/1 fourth favourite behind The Gurkha, Galileo Gold and Awtaad. Ribchester produced a strong late run on the outside but in a very tight finish he was beaten into third place, a short head and a neck behind The Gurkha and Galileo Gold. On 14 August Ribchester was sent to France for the second time and started 2.75/1 second favourite behind Galileo Gold for the Prix Jacques Le Marois over 1600 metres at Deauville Racecourse. The other nine runners included Ervedya, Esoterique, Vadamos (Prix du Muguet), Lightning Spear, Stormy Atlantic (Craven Stakes), Dicton (Prix de Fontainebleau), Arod (Summer Mile Stakes) and Spectre (Prix Imprudence). Ribchester was restrained by Buick in mid-division as Galileo Gold and Arod disputed the early lead before making a forward move in the last 400 metres. Vadamos went to the front 300 metres out, but Ribchester overtook the French horse in the closing stages and won "readily" by half a length. After the race Fahey said "He is a horse with an awful lot of speed, very talented, and keeps improving with racing. He is getting stronger and better. He had to dig deep today and came out with flying colors."

On his final run of the year, Ribchester started the 7/2 second favourite behind Minding for the Queen Elizabeth II Stakes over the straight mile course at Ascot Racecourse on 15 October. After tracking the leaders he moved into contention as Minding went to the front two furlongs out. He appeared to be outpaced by the favourite but kept on well to reduce the Irish filly's advantage and finished second, beaten half a length, with Lighting Spear in third. The other beaten horses included Awtaad, Galileo Gold, Jet Setting and Hit It A Bomb (Breeders' Cup Juvenile Turf).

### 2017: four-year-old season

For his first run of 2017 Ribchester was sent to the United Arab Emirates and moved up in trip for the Dubai Turf over nine furlong at Meydan Racecourse on 25 March. He was in contention from the start and was sent to the front by Buick approaching the last quarter mile. He maintained his advantage until the last hundred yards but was then overtaken and finished third to the Japanese filly Vivlos and the French colt Heshem. On his return to Europe the colt contested the Lockinge Stakes at Newbury in May and started 7/4 favourite in front of seven opponents headed by Galileo Gold and the Irish filly Somehow. Ribchester took the lead from the start and set a steady pace before accelerating in the last quarter mile. He drew away from the field in the closing stages and won by three and three quarter lengths from Lightning Spear. Richard Fahey admitted "I was quite nervous today and I don't do nerves", before adding "It was a big day, you just want to perform and, God, he did. This guy's special".

At Royal Ascot on 20 June Ribchester started 11/10 favourite against fifteen opponents in the Queen Anne Stakes. After tracking the leaders he went to the front a furlong out and won by a length and a quarter from Mutakayyef in a new course record time of 1:36.60. Buick described the winner as "a fabulous horse... the best miler I've ridden". Ribchester was generally expected to add to his tally of Group 1 wins in the Sussex Stakes at Goodwood on 2 August especially after his main rival Churchill was withdrawn on account of the exceptionally testing conditions. Racing on soft, wet turf in heavy rain, Ribchester led for most of the way but was overtaken in the final furlong and despite rallying strongly in the closing strides he was beaten a neck by the 20/1 outsider Here Comes When.

Ribchester returned to the track on 10 September and started favourite for the Prix du Moulin, run that year at Chantilly Racecourse. His opponents on this occasion were Lightning Spear, Taareef (Prix Messidor), Inns of Court (Prix de la Porte Maillot), Robin of Navan (Critérium de Saint-Cloud) Lady Frankel (Prix de Lieurey) and Masaat (Hungerford Stakes). After tracking the leader Robin of Navan, Ribchester went to the front 400 metres from the finish and stayed on well to win by three quarters of a length from Taareef.

## Assessment

In the official ratings for European two-year-olds of 2015, Ribchester was given a rating of 113, making him the twelfth-best colt of the year, eleven pounds behind the champion Air Force Blue.

In the 2016 edition of the World's Best Racehorse Rankings Ribchester was given a rating of 122, making him the 18th best racehorse in the world and the best three-year-old trained in Britain.

In the 2017 World's Best Racehorse Rankings, Ribchester was rated the ninth-best horse in the world and the best miler in Europe.

## Stud career

Ribchester was retired to stud in 2018 in Australia. He sired Plymstock, a stakes performer in Australia. In 2020, he relocated to Huanui Farm in New Zealand to replace his sire Iffraaj on their roster.

### Notable Progeny

*c = colt, f = filly, g = gelding*

| **Foaled** | **Name** | **Sex** | **Major Wins** |
| --- | --- | --- | --- |
| 2019 | Facteur Cheval | g | Dubai Turf |
|

## Pedigree

Pedigree of Ribchester, bay colt, 2013
| Sire
Iffraaj (GB)
2001 | Zafonic (USA)
1990 | Gone West | Mr. Prospector |
| --- | --- | --- | --- |
| | | Secrettame |
| | Zaizafon | The Minstrel |
| | Mofida |
| | Pastorale (GB)
1988 | Nureyev | Northern Dancer |
| | | Special |
| | Park Appeal | Ahonoora |
| | Balidaress |
| Dam
Mujarah (IRE)
2008 | Marju (IRE)
1988 | Last Tycoon | Try My Best |
| | | Mill Princess |
| | Flame of Tara | Artaius |
| | Welsh Flame |
| | Tanaghum (GB)
2000 | Darshaan | Shirley Heights |
| | | Delsy |
| | Mehthaaf | Nureyev |
| | Elle Seule (Family: 4-m) |

## InfoBox

| Ribchester | |
| --- | --- |
| Racing silks of
David W Armstrong and Godolphin | |
| Sire | Iffraaj |
| Grandsire | Zafonic |
| Dam | Mujarah |
| Damsire | Marju |
| Sex | Colt |
| Foaled | 25 March 2013 |
| Country | Ireland |
| Colour | Bay |
| Breeder | Audrey Thompson & M O'Brien |
| Owner | David W Armstrong
Godolphin |
| Trainer | Richard Fahey |
| Record | 14: 6-4-3 |
| Earnings | £2,356,168 |
| Major wins | |
| Mill Reef Stakes (2015)
Jersey Stakes (2016)
Prix Jacques Le Marois (2016)
Lockinge Stakes (2017)
Queen Anne Stakes (2017)
Prix du Moulin (2017) | |
| Awards | |
| Top-rated British-trained three-year-old (2016) | |


title: Rhamnocercus

abstract: Rhamnocercus is a genus of monopisthocotylean monogeneans in the family Diplectanidae. All species of Rhamnocercus are parasites of marine perciform fishes of the family Sciaenidae.

text:
# Rhamnocercus

***Rhamnocercus*** is a genus of monopisthocotylean monogeneans in the family Diplectanidae. All species of *Rhamnocercus* are parasites of marine perciform fishes of the family Sciaenidae.

## Species

According to the World Register of Marine Species, the following species are included in the genus:

## InfoBox

| *Rhamnocercus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Platyhelminthes |
| Class: | Monogenea |
| Order: | Dactylogyridea |
| Family: | Diplectanidae |
| Genus: | *Rhamnocercus*
Monaco, Wood & Mizelle, 1954 |
|
| Type species | |
| ***Rhamnocercus rhamnocercus***
Monaco, Wood & Mizelle, 1954 | |
| Species | |
| See text | |


title: Richard Brooker

abstract: Richard Brooker was a British actor and stuntman, best known for his role in Friday the 13th Part III as Jason Voorhees.

text:
# Richard Brooker

**Richard Brooker** (20 November 1954 – 8 April 2013) was a British actor and stuntman, best known for his role in *Friday the 13th Part III* as Jason Voorhees.

## Career

Brooker, a former trapeze artist, started his career in acting in a casting magazine, "Dramalogue". The casting call was for a big man to play a role in an upcoming movie directed by Steve Miner; however it wasn't until after Richard's tryout that he found out it was for the role of Jason Voorhees in *Friday the 13th: Part III*. During filming of the series, Richard had to undergo hours of makeup work to play the role of Jason, as depicted in online photographs. According to the fan-made documentary, *Friday the 13th Part III: The Memoriam Documentary*, Brooker was at this point in the series the fittest Jason to be played.

Notably, he is the first actor to don the now iconic hockey mask as Jason, which would later become the series trademark. He did all his own stunts and wore blue jeans and a sweatshirt for the duration of filming. Brooker also wore white foam padding under his sweatshirt throughout filming to give him a more stocky appearance due to Brooker's slim and toned body.

After his iconic role as Jason in *Friday the 13th Part III*, he made appearances in small film roles such as *Deathstalker*, *Deep Sea Conspiracy*, and the television series *Trapper John, M.D.*. Brooker later became a director for such notable series such as *Bill Nye the Science Guy*, and worked as producer on several sports channels and programs such as Fox and 20th Century FOX. He later shifted from filmmaking and acting to business, creating his own website design company, Production Access Network.

Brooker had also patented a device that is used in mobile phone devices and in the movie industry, which led him to win the Primetime Emmy Award for Outstanding Achievement in Engineering Development in 2006.

## Personal life

He was in a relationship with Shannon McMurray from 1995 to 2000, with whom he had two daughters, Madison and Cameron. The two amicably split in mid-2000.

He also had a passion for riding horses and the sport of Polo. Also had an avid passion for sailing, and for a time lived on his sail boat with his daughters.

Adored by his fans, Brooker was a constant sight at the horror conventions throughout the country during the 2000s and 2010s; always happy to grant visitors a wish of an autograph or a photo opportunity. Along the way, he befriended fellow Jason alums Warrington Gillette, Ted White, C.J. Graham, Dick Wieand and Kane Hodder; as well as a host of cast members from different *Friday the 13th* films.

His last convention appearance was in March 2013 at the Full Moon Tattoo and Horror Festival in Nashville, TN.

## Death

Richard Brooker died of a suspected heart attack (the cause of death was later found to be undetermined) on 8 April 2013 at a hospital in Los Angeles, California at age 58; less than one month after his final convention appearance. His name appeared in episode 7 of *Hell's Kitchen's* 11th season, which paid tribute to him at the end of its 18 April 2013 broadcast.

On 26 May 2017, *Friday the 13th: The Game* was released as a digital copy in the United States and certain parts of the world. Though Part III Jason's motion capture work was done by Jason Veteran Kane Hodder, the image of Jason's face behind the mask was of Brooker's likeness as Jason; paying homage to his contribution to the series.

On 13 January 2018 a fan-made documentary entitled *Friday the 13th Part III: The Memoriam Documentary* was published on YouTube. In the documentary, Brooker was memorialized by the people he worked with on the set of Friday the 13th Part III and remembered by friends and a cousin as a caring man who loved his fans and the people he worked with. Dick Wieand, who played Roy Burns in *Friday the 13th: A New Beginning* ended Brooker's tribute with: "He was one of the good guys, and I am glad to have known him. And if I ever saw him again I’d say: ‘Hey Richard, I know this little bar down in Santa Monica. Let’s go have a drink."

The documentary included interviews with *Friday the 13th Part III* stars David Katims, Larry Zerner, and Paul Kratka. Also interviewed was Adrienne King, actresses Eileen Dietz, Tracie Savage, Caroline Williams; as well as C.J. Graham and Dick Wieand the men who played Jason in *Part VI* and *Part V* respectively. The documentary was dedicated in Brooker's memory.

## Filmography

## InfoBox

| Richard Brooker | |
| --- | --- |
| Richard Brooker at the 2013 Full Moon Tattoo & Horror Festival in Nashville, Tennessee | |
| Born | 20 November 1954
Münster, West Germany |
| Died | 8 April 2013(2013-04-08) (aged 58)
Los Angeles, California |
| Occupation(s) | Stuntman, trapeze artist, actor, director, producer, businessman |
| Years active | 1957–2013 |


title: Richard Brooks (captain)

abstract: Richard Brooks, pioneer New South Wales settler, was born in Devon, England, the son of Henry Brooks, a clergyman of Salcombe Regis and Honoria Hall.

text:
# Richard Brooks (captain)

**Richard Brooks** (c.17651833), pioneer New South Wales settler, was born in Devon, England, the son of Henry Brooks, a clergyman of Salcombe Regis and Honoria Hall (daughter of Joseph Hall the vicar of Salcombe Regis and his wife Honoria Burchinshaw).

## Pedigree

Often described simply as the son of an "impoverished clergyman", Richard Brooks had notable maternal ancestry, his mother having descended from the Burchinshaws of Llansannan, Wales and possibly Joseph Hall, English bishop and satirist.

## Ship's Captain

Richard Brooks is said to have had little formal education before entering the British East India Company's service at an early age, rising to command his own ship. During the first French Revolutionary War he traded to Porto, Portugal the Mediterranean and the Baltic, carrying a letter of marque, but later returned to the East India service.

He began his association with New South Wales in 1802 when he captained the convict transport *Atlas*.

*Atlas'*s 222-day voyage was one of the worst in the history of transportation to Australia. During the voyage 64 people died; another four dying shortly after disembarkation. The remainder were "in a dreadfully emaciated and dying state" (Governor King). Governor King asked a committee of enquiry whether Captain Brooks' private trade goods which took up space in the hospital and prison and the unnecessary stops en route to Australia contributed to the deaths. The committee stated that mortality had been caused by "the want of proper attention to cleanliness, the want of free circulation of air, and the lumbered state of the prison and hospital".

In 1806 he was captain of another transport, the *Alexander*, on which no deaths ensued; thereafter he made a number of trading trips to the colony, in the *Rose* in 1808, the *Simon Cock* in 1810, and the *Argo* in 1811, and built up large interests in the colony. In 1812 he fathered an illegitimate child with Ann Jamieson in Sydney. In February 1813 Brooks was on his way to England in the *Isabella* when she was wrecked near the Falkland Islands, and he sailed to Buenos Aires in a long-boat for help. In July he asked for permission to go to New South Wales as a free settler. Allowed to go, he arrived in March 1814 with his wife Christiana, née Passmore (1776–1835), daughter of another East India captain, and children in the *Spring*.

## Settlement in New South Wales

Richard lived at Denham Court in New South Wales, a prominent settler, a member of the New South Wales Agricultural Society, a vice-president of the Benevolent Society, member of the committee of the Bible Society, and a strong supporter of religious charities of all denominations. He owned properties in Sydney at Cockle Bay and Surry Hills and had extensive holdings in the Illawarra, Williams River and Lake George districts. In 1816 he was censured for profiteering during a drought in the colony by withholding cattle from sale.

Brooks was described by his daughter, Christiana Blomfield, in a letter dated 20 January 1828 as *... a nice looking old gentleman of 65, hale and very active for his age. He was 6 ft high when a young man, and I dare say very handsome, but he now loses some of his height by stooping. He is a very affectionate father and I believe particularly fond of me.*

In a letter dated 15 March 1831, Christiana wrote that her father had been “*very ill from the effects of an accident occasioned by a wild cow running at him while on horseback and goring him in the calf of the leg, while returning from one of his journeys to his cattle stations in the interior. The confinement from such an accident has injured his health and he is weak and rather inclined to be hippish*”.

Richard Brooks died on 16 October 1833. He was buried in a vault at Denham Court. The Church of St Mary the Virgin was later built to enclose the remains of Richard and his wife, Christiana, who died on 12 April 1835.

## Public service

1817 - appointed to be a Justice of the Peace and Magistrate in the Territory of New South Wales and Member of the Supreme Court

## Family of Richard and Christiana Brooks

1. Henry BROOKS (1798–1841) married in 1825 to Margaret Mackenzie, daughter of Alexander McKenzie
2. Christiana Jane BROOKS (1802–1852) married Thomas Valentine Blomfield
3. Mary Honoria BROOKS (1804–1868) married Captain William Wilson in 1828; widowed 1835; married Captain George Wardell in 1838
4. Jane Maria BROOKS (1806–1888) married in 1827 to Edward Cox, Pastoralist and Member of New South Wales Legislative Assembly
5. Honoria Rose BROOKS (c1809 - 1839) married in 1833 to William Edward Riley (1807–1836), pastoralist and sketcher, son of the pioneer pastoralist Alexander Riley
6. Charlotte Sophia BROOKS (c1811 - 1885) married in 1837 to Nathaniel Powell (1812–1874)
7. Richard BROOKS (1814–1855) illegitimate son?, born Sydney, married Augusta Sydney Weston (1837)
8. Maria BROOKS (1814–1892) married in 1836 to Lieutenant Henry Zouch (1811–1883)

* Drawing of Denham Court by William Hardy Wilson
* Portrait of Captain Richard Brooks by Augustus Earle
* Portrait of Mrs Richard Brooks by Augustus Earle
* Australian Dictionary of Biography
* Church of St Mary the Virgin
* Irish Convicts—Captain Richard Brooks and Irish Convict Transportation by Christine Maher
* Convict Ships to New South Wales
* \[1802\] Irish Convicts onboard Atlas I
* The Sydney Gazette of 5 October 1811
* The Sydney Morning Herald of 6 January 1923 - historical article by Captain James H Watson
* The Sydney Morning Herald of 10 January 1923
* The Sydney Morning Herald of 4 November 1933
* 12 Colonial Secretary's papers 1822–1877, State Library of Queensland\- includes digitised letters written by Brooks to the Colonial Secretary of New South Wales


title: Rhynchopsitta phillipsi

abstract: Rhynchopsitta phillipsi is an extinct species of thick-billed parrot. It was described in 1997 from Late Pleistocene cave deposits from Nuevo León in northeastern Mexico. The specific epithet honours American ornithologist Allan Robert Phillips.

text:
# Rhynchopsitta phillipsi

***Rhynchopsitta phillipsi*** is an extinct species of thick-billed parrot. It was described in 1997 from Late Pleistocene cave deposits from Nuevo León in northeastern Mexico. The specific epithet honours American ornithologist Allan Robert Phillips.

## InfoBox

| *Rhynchopsitta phillipsi*
Temporal range: Late Pleistocene | |
| --- | --- |
|  | |
| *R. phillipsi* compared to the maroon-fronted parrot | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Psittaciformes |
| Family: | Psittacidae |
| Genus: | *Rhynchopsitta* |
| Species: | ***R. phillipsi*** |
| Binomial name | |
| ***Rhynchopsitta phillipsi***
Rea, 1997 | |
|


title: HMCS Snowberry

abstract: HMCS Snowberry was a Flower-class corvette that was originally built for the Royal Navy, but spent most of the war in service with the Royal Canadian Navy. She fought primarily as a convoy escort during the Second World War. She served primarily in the Battle of the Atlantic.

text:
# HMCS Snowberry

**HMCS *Snowberry*** was a Flower-class corvette that was originally built for the Royal Navy, but spent most of the war in service with the Royal Canadian Navy. She fought primarily as a convoy escort during the Second World War. She served primarily in the Battle of the Atlantic.

## Background

Flower-class corvettes like *Snowberry* serving with the Royal Canadian Navy during the Second World War were different from earlier and more traditional sail-driven corvettes. The "corvette" designation was created by the French for classes of smaller warships just below a frigate in size and power, but above a sloop or gunvessel; the Royal Navy borrowed the term for a period during the 19th Century, but discontinued its use after the 1880s, with the introduction of a new rating system for cruising warships. During the hurried preparations for war in the late 1930s, Winston Churchill reactivated the corvette designation, needing a name for smaller ships used in an escort capacity, in this case based on a whaling ship design. The generic name "flower" was used to designate the class of these ships, which – in the Royal Navy – were named after flowering plants.

## Construction

*Snowberry* was ordered by the Royal Navy (RN) 22 January 1940 as part of the 1939-1940 Flower-class building program. She was laid down by George T. Davie & Sons Ltd. at Lauzon on 24 February 1940 and launched on 8 August 1940. She was commissioned into the RN on 26 November 1940. She sailed to the United Kingdom in February 1941 and was completed at Greenock in April 1941. On 15 May 1941 *Snowberry* was one of ten corvettes loaned to Canada. She could be told apart from other Canadian *Flowers* by her lack of minesweeping gear and the siting of the after gun tub amidships.

During her career *Snowberry* had three significant refits. The first took place at Charleston beginning in December 1941 and taking six weeks to complete. Her second overhaul took place again at Charleston from March 1943 until 14 May 1943. In late March 1944 she went to Baltimore, Maryland for a five-week refit.

## War service

### Royal Navy

After completing at Greenock and working up at Tobermory, *Snowberry* was assigned to Western Approaches Command. In June 1941, she sailed for Newfoundland after being loaned to the Royal Canadian Navy.

### Royal Canadian Navy

Upon her arrival in Newfoundland in June 1941 she joined Newfoundland Command as a convoy escort between St. John's and Iceland. From July to October 1941 she was deployed as such. She departed for a short refit and upon her return in February 1942 she was briefly deployed as an ocean escort once again.

In March 1942 *Snowberry* transferred to Western Local Escort Force (WLEF). In June 1942, after the U-boats had begun attacking oil tankers sailing along the North American coast, she joined the newly formed Tanker Escort Force. In September 1942 she was placed under American control escorting convoys between Guantánamo and New York.

She returned to service after her second major refit in August 1943, when she was assigned to Royal Navy controlled escort group EG 5. On 23 August 1943 *Snowberry* as part of the 5th Support Group, was deployed to relieve the 40th Escort Group which was undertaking a U-boat hunt off Cape Ortegal. The warships of both groups were attacked by 14 Dornier Do 217s and 7 Junkers Ju 87s that were carrying a new weapon the Henschel Hs 293 anti-ship guided missile. Several sailors were injured and killed in HMS *Bideford* (40th EG) but *Snowberry* escaped damage. Two days later, the 5th SG was relieved by the 1st Support Group and the warships of both groups were again attacked by 18 Dornier Do 217s also carrying Hs 293 weapons. *Athabaskan* was heavily damaged and HMS *Egret* was sunk but *Snowberry* again escaped damage.

On 20 November 1943 *Snowberry*, along with *Nene* and *Calgary*, depth charged and sank *U-536* northeast of the Azores at 43° 50N, 19° 39W.

When the group replaced its corvettes with frigates in March 1944, *Snowberry* departed for her final refit. After workups she was briefly assigned to WLEF again but transferred to Portsmouth Command in mid-September 1944. She remained with them until she was decommissioned by the Royal Canadian Navy.

## Post-war service

*Snowberry* was paid off from the RCN on 8 June 1945 when she was returned to the Royal Navy at Rosyth. In 1946 she was used as a target ship off Portsmouth. Her remains were sold for scrap and in August 1947 she was broken up at Middlesbrough.

## InfoBox

| HMCS *Snowberry* in May 1943 | |
| --- | --- |
| History | |
| United Kingdom | |
| Name | *Snowberry* |
| Namesake | Snowberry |
| Ordered | 22 January 1940 |
| Builder | Davie Shipbuilding, Lauzon |
| Laid down | 24 February 1940 |
| Launched | 8 August 1940 |
| Commissioned | 26 November 1940 |
| Out of service | loaned to Royal Canadian Navy 15 May 1941 |
| Identification | Pennant number: K166 |
| Fate | Returned from RCN June 1945. Scrapped in August 1947 at Middlesbrough. |
| Canada | |
| Name | *Snowberry* |
| Acquired | loaned from Royal Navy |
| Commissioned | 15 May 1941 |
| Out of service | returned to Royal Navy 27 June 1945 |
| Refit | Forecastle extended at Charleston on 14 May 1943. |
| Identification | Pennant number: K166 |
| Honours and
awards | Atlantic 1941-44, Biscay 1943, English Channel 1945; Gulf of St. Lawrence 1944 |
| General characteristics | |
| Class and type | Flower-class corvette (original) |
| Displacement | 925 long tons (940 t; 1,036 short tons) |
| Length | 205 ft (62.48 m)o/a |
| Beam | 33 ft (10.06 m) |
| Draught | 11.5 ft (3.51 m) |
| Propulsion | * single shaft * 2 × fire tube Scotch boilers * 1 × 4-cycle triple-expansion reciprocating steam engine * 2,750 ihp (2,050 kW) |
| Speed | 16 knots (29.6 km/h) |
| Range | 3,500 nautical miles (6,482 km) at 12 knots (22.2 km/h) |
| Complement | 85 |
| Sensors and
processing systems | * 1 × SW1C or 2C radar * 1 × Type 123A or Type 127DV sonar |
| Armament |  |


title: HMCS Somers Isles

abstract: HMCS Somers Isles was a temporary training facility and stone frigate for the Royal Canadian Navy (RCN) in Bermuda from 1944 to 1945 during the Second World War. Following the war, the base was closed. Beginning in mid-1944, work-up training for naval ships stationed on the East Coast of Canada took place in Bermudian waters as it allowed for training year-round compared to the RCN's previous work-up site, St. Margaret's Bay and Pictou, Nova Scotia.

text:
# HMCS Somers Isles

**HMCS *Somers Isles*** was a temporary training facility and stone frigate for the Royal Canadian Navy (RCN) in Bermuda from 1944 to 1945 during the Second World War. Following the war, the base was closed. Beginning in mid-1944, work-up training for naval ships stationed on the East Coast of Canada took place in Bermudian waters as it allowed for training year-round compared to the RCN's previous work-up site, St. Margaret's Bay and Pictou, Nova Scotia.

## Background

During the Second World War, the RCN required an area to perform work up training for its ships in an area where operational requirements would not interfere. Traditionally, this was done near the RCN's main east coast naval base at Halifax, Nova Scotia. However, to improve overall training and specifically asdic training, the RCN transferred its training facilities to Bermuda, a colony of the United Kingdom. The RCN had previous experience with Bermuda, as prior to this, the RCN worked with the Royal Navy in establishing an anti-submarine training program at Casemates Barracks starting in 1939.

The base was located at Convict Bay, St. George's Parish. It was originally built for the use of the Royal Navy, and was named for the prison hulks moored there by the Admiralty to house convict labourers. After the Royal Navy relocated the Royal Naval Dockyard and Admiralty House to Ireland Island and Spanish Point, respectively, Convict Bay was transferred to the War Office in the 1860s and absorbed into the adjacent St. George's Garrison. The Bermuda Militia Artillery moved out of Convict Bay in 1944 to make way for the RCN. During Royal Navy service the base also assisted with converting 50 ex-United States Navy destroyers to RN and RCN service in 1940 under the Lend-Lease program.

## Service history

In January 1943, the RCN sought a new place to train their warships. The existing location, in St. Margaret's Bay and Pictou, Nova Scotia where the heavy weather in winter affected training. Bermuda was suggested as a location. Planning for a base in Bermuda only began in January 1944 and an agreement was reached with the United Kingdom where a base would be lent to Canada. The base was commissioned on 1 August 1944 and given and named for the alternative name for Bermuda, the Somers Islands. The new base allowed Canadian ships to train in anti-submarine warfare before entering or re-entering service, something that Canadian warships had little chance to do during the war once activated. By May 1945, 119 Canadian ships had passed through the facility. Towards the end of the war, the base was used to prepare frigates for service in the Pacific theatre. The RCN abandoned HMCS *Somers Isles* at the end of the war, one of eleven facilities that was disbanded by March 1946. Prior to closure, the RCN had intended to keep four motor launches at *Somers Isles* for target practice, but this idea was abandoned when the base was shuttered and the Motor Launches were deemed obsolete.

## Sources

* Boutiller, James A., ed. (1982). *RCN in Retrospect, 1910–1968*. Vancouver: University of British Columbia Press. ISBN 0-7748-0196-4.
* German, Tony (1990). *The Sea is at Our Gates: The History of the Canadian Navy*. Toronto: McClelland & Stewart Incorporated. ISBN 0-7710-3269-2.
* Hadley, Michael L. (1985). *U-Boats Against Canada: German Submarines in Canadian Waters*. Montreal, Quebec and Kingston, Ontario: McGill-Queen's University Press. ISBN 0-7735-0811-2.
* Tucker, Gilbert Norman (1952). *The Naval Service of Canada, Its Official History – Volume 2: Activities on Shore During the Second World War*. Ottawa: King's Printer. OCLC 4346983.
* Williams, Ronald John, ed. (1960). "Canadian Navy's Golden Jubilee". *The Bermudian*. Vol. 31, no. 1–12. Hamilton, Bermuda. OCLC 220578378.


title: Richard Davis (composer)

abstract: Richard Davis was an English composer and organist who was active at the Worcester Cathedral from 1639 until his death in 1688. He began his musical life at the cathedral as a chorister from 1639–1644. He then served as a lay clerk before being appointed organist at the cathedral in 1664. In 1671 he also became Master of Choristers at the Cathedral. While Davis held the post of organist until his death, the last two years of his life he suffered ill health and the duties of the post were filled by a deputy organist, the composer Vaughan Richardson. Davis died in Worcester in April 1688. As a composer, his surviving compositions include a Mass in C Major and 12 anthems; all of which are part of the collection of the Worcester Cathedral's library.

text:
# Richard Davis (composer)

**Richard Davis** (died April 1688) was an English composer and organist who was active at the Worcester Cathedral from 1639 until his death in 1688. He began his musical life at the cathedral as a chorister from 1639–1644. He then served as a lay clerk before being appointed organist at the cathedral in 1664. In 1671 he also became Master of Choristers at the Cathedral. While Davis held the post of organist until his death, the last two years of his life he suffered ill health and the duties of the post were filled by a deputy organist, the composer Vaughan Richardson.

Davis died in Worcester in April 1688. As a composer, his surviving compositions include a *Mass in C Major* and 12 anthems; all of which are part of the collection of the Worcester Cathedral's library.


title: Richard D'Oyly Carte

abstract: Richard D'Oyly Carte was an English talent agent, theatrical impresario, composer, and hotelier during the latter half of the Victorian era. He built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day. Carte started his career working for his father, Richard Carte, in the music publishing and musical instrument manufacturing business. As a young man he conducted and composed music, but he soon turned to promoting the entertainment careers of others through his management agency. Carte believed that a school of wholesome, well-crafted, family-friendly, English comic opera could be as popular as the risqué French works dominating the London musical stage in the 1870s. To that end he brought together the dramatist W. S. Gilbert and composer Arthur Sullivan and nurtured their collaboration on a series of thirteen Savoy operas. He founded the D'Oyly Carte Opera Company and built the state-of-the-art Savoy Theatre to host the Gilbert and Sullivan operas. Eight years after opening the Savoy Theatre, Carte built the Savoy Hotel next to it, and later acquired other luxury hotels. In 1891 he erected the Palace Theatre, London, which he intended to be the home of a new school of English grand opera, but this ambition was not realised beyond the production of a single work by Sullivan, Ivanhoe. Nevertheless, his partnership with Gilbert and Sullivan, and his careful management of their operas and relationship, created a series of works whose success was unprecedented in the history of musical theatre. His opera company, later run by his widow Helen and then by his son, Rupert, and granddaughter, Bridget, promoted those works for more than a century, and they are still performed regularly today.

text:
# Richard D'Oyly Carte

**Richard D'Oyly Carte** (; 3 May 1844 – 3 April 1901) was an English talent agent, theatrical impresario, composer, and hotelier during the latter half of the Victorian era. He built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day.

Carte started his career working for his father, Richard Carte, in the music publishing and musical instrument manufacturing business. As a young man he conducted and composed music, but he soon turned to promoting the entertainment careers of others through his management agency. Carte believed that a school of wholesome, well-crafted, family-friendly, English comic opera could be as popular as the risqué French works dominating the London musical stage in the 1870s. To that end he brought together the dramatist W. S. Gilbert and composer Arthur Sullivan and nurtured their collaboration on a series of thirteen Savoy operas. He founded the D'Oyly Carte Opera Company and built the state-of-the-art Savoy Theatre to host the Gilbert and Sullivan operas.

Eight years after opening the Savoy Theatre, Carte built the Savoy Hotel next to it, and later acquired other luxury hotels. In 1891 he erected the Palace Theatre, London (originally called the Royal English Opera House), which he intended to be the home of a new school of English grand opera, but this ambition was not realised beyond the production of a single work by Sullivan, *Ivanhoe*. Nevertheless, his partnership with Gilbert and Sullivan, and his careful management of their operas and relationship, created a series of works whose success was unprecedented in the history of musical theatre. His opera company, later run by his widow Helen and then by his son, Rupert, and granddaughter, Bridget, promoted those works for more than a century, and they are still performed regularly today.

## Early years

Carte was born at his parents' house in Greek Street, Soho, in the West End of London on 3 May 1844; he was the eldest of six children. His father, Richard Carte, was a flautist, and his mother was the former Eliza Jones (1814–1885); they had eloped, to the disappointment of her father, Thomas Jones, a clergyman. Carte was of Welsh and probably Norman ancestry; D'Oyly is a Norman French name which the biographer Arthur Jacobs emphasises was in this case "a forename (not part of a double surname)". To supplement his income as a performer, Carte's father joined the firm of Rudall, Rose & Co., musical instrument makers and music publishers, in 1850. After he became a partner in the business, it changed its name to Rudall, Rose, Carte and Co. and later to Rudall, Carte & Co. The family moved away from Soho when Carte was a boy. He was brought up in their large detached house in Dartmouth Park in north London. His cultured mother exposed her family to art, music and poetry, and young Carte studied the violin and then the flute at an early age. The family spoke French at home two days a week, and his parents often took their children to the theatre.

He was educated at University College School from 1856 to 1860. In January 1861, he achieved First Class level in the matriculation examination for University College London, but did not take up the place; in deference to his parents' wishes he joined his father's business, along with his brother, Henry. As the name Richard Carte was by now well known in, and beyond, the musical profession, Carte dropped the use of his own first name and styled himself "D'Oyly Carte" or, more formally, "R. D'Oyly Carte." He studied music and composed some pieces, which he dedicated to the actress Kate Terry. He also acted in amateur theatricals.

## Career

### Theatrical beginnings

Between 1868 and 1877, Carte wrote and published the music for several of his own songs and instrumental works, as well as three short comic operas: *Doctor Ambrosias – His Secret* (1868), *Marie* (1871), and *Happy Hampstead* (1876). On tour in 1871 he conducted *Cox and Box* by Arthur Sullivan and F. C. Burnand, in tandem with English adaptations of two one-act pieces by Offenbach, *The Rose of Auvergne* and *Breaking the Spell*, in which Carte's client Selina Dolaro starred. Carte's musical talent would be helpful later in his career, as he was able to audition singers himself from the piano.

During the late 1860s and early 1870s, from within his father's firm in Charing Cross and, by late 1874, from a nearby address in Craig's Court, Carte began to build an operatic, concert and lecture management agency. His two hundred clients eventually included Charles Gounod, Jacques Offenbach, Adelina Patti, Mario, Clara Schumann, Antoinette Sterling, Edward Lloyd, Mr. and Mrs. German Reed, George Grossmith, Matthew Arnold, James McNeill Whistler and Oscar Wilde. Hesketh Pearson said of Carte: "His acute business sense was aided by a frank and agreeable manner: he could not only see where money was to be made but how to make it. He took what other people thought were risks, but he felt were certainties. ... He knew everyone worth knowing ... and his practical judgement was as sure as his sense of artistry."

### Founding his opera company

In 1874, Carte leased the Opera Comique, a theatre off the Strand, where he presented Charles Lecocq's new opéra bouffe *Giroflé-Girofla*, given in French by the company who had premiered the work three months earlier in Brussels. It did poor box-office business, and had to be closed after two weeks. He followed it with a modest success, *The Broken Branch*, an English adaptation of Gaston Serpette's *La branche cassée*. Carte announced his ambitions on the front of the programme for the latter: "It is my desire to establish in London a permanent abode for light Opera." *The Observer* commented, "Mr D'Oyly Carte is not only a skilful manager, but a trained musician, and he appears to have grasped the fact that the public are beginning to become weary of what is known as a genuine opéra bouffe, and are ready to welcome a musical entertainment of a higher order, such as a musician might produce with satisfaction".

Carte later said it was "the scheme of my life" to found a school of high-quality, family-friendly English comic opera, in contrast to the crude burlesques and adaptations of French operettas that dominated the London musical stage at that time. His experience in writing operettas had convinced him that his own creative talents were inadequate for the task. He later wrote to the dramatist W. S. Gilbert, "I envy your position but I could never attain it. If I could be an author like you I would certainly not be a manager. I am simply the tradesman who sells your works of art". Furthermore, in 1874 Carte did not yet have the resources to make his idea into reality, and after his season at the Opera Comique, he terminated his lease.

In 1875 Carte became the business manager of the Royalty Theatre, under the direction of his client, the popular singing actress Selina Dolaro who was the licensee of the theatre and star of its production of Offenbach's *La Périchole*. To fill out the evening (as long programmes were the fashion in Victorian theatre), he needed another piece. He remembered a libretto for a one-act comic opera that W. S. Gilbert had written and shown to him in 1873, called *Trial by Jury*. Meanwhile, Sullivan's popular 1867 opera, *Cox and Box*, had been revived at the Gaiety Theatre in 1874, and Carte had already asked him to write a piece for the Royalty. Carte knew that Gilbert had worked with Sullivan to create *Thespis* in 1871, and he now suggested that Sullivan could write the music for *Trial by Jury*. *Trial by Jury*, a comic treatment of an English courtroom, was an unexpected hit, outrunning *La Périchole*, and becoming the first step in Carte's scheme to establish a new genre of English comic opera.

In June 1875 the Royalty closed for the summer, and Dolaro took her company on tour. While *Trial by Jury* and *La Périchole* were playing at the Gaiety Theatre, Dublin in September, Carte met Michael Gunn, a co-owner of the Gaiety. Gunn became a close friend of Carte's, later served as a manager in his theatrical company and was a shareholder and director in his hotel business. Even after the initial production of *Trial by Jury* Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of English adaptations of French opéra bouffe (Offenbach's *La Périchole*, and *La Grande-Duchesse de Gérolstein*, Lecocq's *La fille de Madame Angot* and Léon Vasseur's *La Timbale d'argent*), paired with two one-act English after-pieces (*Happy Hampstead* and *Trial by Jury*). Carte was the musical director of this travelling company.

In February 1877 Carte, organising a company for a provincial tour of a successful London farce, auditioned a novice actress called Helen Lenoir. He engaged her for a small role, but after a few weeks she left the tour and returned to London where she secured an office post in Carte's agency. She gradually assumed a key role in his business affairs and his personal life. Frank Desprez, the editor of *The Era*, wrote: "Her character exactly compensated for the deficiencies in his."

Encouraged by the success of *Trial by Jury*, Carte had been attempting since 1875 to raise money for either a revival of *Thespis* or a new piece. In 1877 he finally found four backers and formed the "Comedy Opera Company" to produce new works by Gilbert and Sullivan, along with those of other British authors and composers. This allowed Carte to lease the Opera Comique and to give Gilbert and Sullivan firm terms for a new opera. The first comic opera produced by the new company was Gilbert and Sullivan's *The Sorcerer* in 1877, with a plot involving a tradesmanlike London magician and his patented love potion. Gilbert, Sullivan and Carte were able to select their own cast, instead of using the players under contract to the theatre where the work was produced, as had been the case with their earlier works. They chose talented actors, few of whom were well-known stars; Carte's agency provided many of them. The reception of the piece showed that Carte had been right that there was a promising future in family-friendly English comic opera.

*The Sorcerer* was followed by *H.M.S. Pinafore* in 1878. It opened to great enthusiasm but within days of the premiere London experienced an unusually strong and protracted heat wave, and business in the ill-ventilated Opera Comique was badly affected. Takings dropped to £40 a night, and Carte's directors in the Comedy Opera Company advocated cutting their losses and closing the show. After promotional efforts by Carte and Sullivan, who programmed some of the *Pinafore* music when he conducted a season of promenade concerts at Covent Garden, the opera became a hit. Carte convinced Gilbert and Sullivan that when their original agreement with the Comedy Opera Company expired in July 1879, a business partnership among the three of them would be to their advantage. Each put up £1,000 and formed a new partnership under the name "Mr Richard D'Oyly Carte's Opera Company". Under the partnership agreement, once the expenses of mounting the productions had been deducted, each of the three partners was entitled to one third of the profits.

On 31 July 1879, the last day of their agreement with Carte, the directors of the Comedy Opera Company attempted to repossess the *Pinafore* set by force during a performance, causing a celebrated fracas. Carte's stagehands managed to ward off their backstage attackers and protect the scenery and props. The Comedy Opera Company opened a rival production of *H.M.S. Pinafore* in London, but it was not as popular as the D'Oyly Carte production and soon closed. Legal action over the ownership of the rights ended in victory for Carte, Gilbert and Sullivan. From 1 August 1879, the new company, later called the D'Oyly Carte Opera Company, became the sole authorised producer of the works of Gilbert and Sullivan.

### Early opera successes; property interests

*H.M.S. Pinafore* was so successful that Carte soon sent two companies out to tour the provinces. The opera ran for 571 performances in London, the second-longest run in musical theatre history up to that time. Over 150 unauthorised productions sprang up in America alone, but because American law then offered no copyright protection to foreigners, Carte, Gilbert and Sullivan were not able to demand royalties from, or to control the artistic content of, these productions. Sullivan commented that in the US there was a belief "that a free and independent American citizen ought not to be robbed of his right of robbing someone else".

To try to counter this copyright piracy and make some money from the popularity of their opera in America, Carte travelled to New York with the authors and the company to present an "authentic" production of *Pinafore*, beginning in December 1879, as well as American tours. Lenoir made fifteen visits to America in the 1880s and 1890s to promote Carte's interests, superintending arrangements for American productions and tours of each of the new Gilbert and Sullivan operas. Beginning with *Pinafore*, Carte licensed the J. C. Williamson company to produce the works in Australia and New Zealand.

In an effort to head off unauthorised American productions of their next opera, *The Pirates of Penzance*, Carte and his partners opened it in New York on 31 December 1879, prior to its 1880 London premiere. They hoped to forestall further "piracy" by establishing the authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. They succeeded in keeping for themselves the direct profits of the venture, but they tried without success for many years to control the American performance copyrights over their operas. *The Pirates* was an immediate hit in New York, and later London, becoming one of the most popular Gilbert and Sullivan operas. To secure the British copyright, Lenoir arranged an ad hoc performance at the Royal Bijou Theatre, Paignton, Devon, by the smaller of Carte's two *Pinafore* touring companies, the afternoon before the New York premiere.

The next Gilbert and Sullivan opera, *Patience*, opened at the Opera Comique in April 1881 and was another big success, usurping *Pinafore'*s position as the longest running piece in the series with the second-longest run in musical theatre history to that date. *Patience* satirised the self-indulgent aesthetic movement of the 1870s and '80s in England. To popularise the opera in America, in 1882 Carte sent one of the artistes under his management, the young poet Oscar Wilde, on a lecture tour to explain to Americans what the aesthetic movement was about. Carte told an interviewer at that time that he had fifteen theatrical companies and performers touring simultaneously in Europe, America and Australia.

Carte had been planning for several years to build a new theatre to promote English comic opera and, in particular, the Gilbert and Sullivan operas. With profits from the Gilbert and Sullivan operas and his concert and lecture agency, he bought property along the Strand in 1880 with frontage onto the Thames Embankment, where he built the Savoy Theatre in 1881. It was a state-of-the-art facility, setting a new standard for technology, comfort and decor. It was the first public building in the world to be lit entirely by electric lights and seated nearly 1,300 people (compared to the Opera Comique's 862).

*Patience* was the first production at the new theatre, transferring there on 10 October 1881. The first generator proved too small to power the whole building, and though the entire front of house was electrically lit, the stage was lit by gas until 28 December 1881. At that performance, Carte stepped on stage and broke a glowing lightbulb before the audience to demonstrate the safety of the new technology. *The Times* concluded that the theatre "is admirably adapted for its purpose, its acoustic qualities are excellent, and all reasonable demands of comfort and taste are complied with." Carte and his manager, George Edwardes (later famous as manager of the Gaiety Theatre), introduced several innovations at the theatre including free programme booklets, the orderly "queue" system with numbered tickets for the pit and gallery (an American idea), tea served at the interval and a policy of no tipping for cloakroom or other services. Daily expenses at the theatre were about half the possible takings from ticket sales. The last eight of Gilbert and Sullivan's comic operas were premiered at the Savoy, and all their operas came to be known as Savoy operas.

The Savoy Hotel, designed by the architect Thomas Edward Collcutt, opened in 1889. Financed by profits from *The Mikado*, it was the first hotel lit by electric lights and the first with electric lifts. In the 1890s, under its famous manager, César Ritz, and chef Auguste Escoffier, it became a well-known luxury hotel and would generate more income and contribute more to the D'Oyly Carte fortunes than any other enterprise, including the opera companies. Carte later acquired and refurbished Claridge's (1893), The Grand Hotel in Rome (1896), Simpson's-in-the-Strand (1898) and The Berkeley (1900).

### Peak years for the opera company

During the years when the Gilbert and Sullivan operas were being written Carte also produced operas and plays by other writing teams, as well as other works to fill the Savoy Theatre in between new operas. Many of these were companion pieces to the Gilbert and Sullivan operas. Others were new full-length pieces either for the Savoy or for Carte's touring companies, which played the Gilbert and Sullivan operas and the new works extensively. Carte and Lenoir also continued to run his management agency. As an example of their level of activity, an 1881 souvenir programme commemorating the 250th performance of *Patience* in London and its 100th performance in New York records that, in addition to these two productions of *Patience*, Carte was simultaneously managing many other projects. These included two companies touring with *Patience*, two touring with other Gilbert and Sullivan operas, one touring with the operetta *Olivette* (co-produced with Charles Wyndham), one with *Claude Duval* in America, a production of *Youth* running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of *Patience*, *Pirates*, *Claude Duval* and *Billee Taylor* in association with J. C. Williamson in Australia, among other things.

Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing the works' popularity and the sales of scores and libretti, as well as the rental of band parts. This had an important influence on amateur theatre in general. Cellier and Bridgeman wrote in 1914 that, prior to the creation of the Savoy operas, amateur actors were treated with contempt by professionals. After the formation of amateur Gilbert and Sullivan companies licensed to perform the operas, professionals recognised that the amateur societies "support the culture of music and the drama. They are now accepted as useful training schools for the legitimate stage, and from the volunteer ranks have sprung many present-day favourites." Cellier and Bridgeman attributed the rise in quality and reputation of the amateur groups largely to "the popularity of, and infectious craze for performing, the Gilbert and Sullivan operas". The National Operatic and Dramatic Association was founded in 1899. It reported, in 1914, that nearly 200 British societies were producing Gilbert and Sullivan operas that year.

After *Patience*, Carte produced *Iolanthe*, which opened in 1882. During its run, in February 1883, he signed a five-year partnership agreement with Gilbert and Sullivan, obliging them to create new operas for him upon six months' notice. Sullivan had not intended to immediately write a new work with Gilbert, but he suffered a serious financial loss when his stockbroker went bankrupt in November 1882 and felt the long-term contract necessary for his security. The Gilbert scholar Andrew Crowther comments, "Effectively, \[the contract\] made \[Gilbert and Sullivan\] Carte's employees – a situation which created its own resentments." The partnership's next opera, *Princess Ida*, opened in January 1884. Carte soon saw that it was running weakly at the box office and invoked the agreement to call upon his partners to write a new opera. The musical establishment was continually exhorting Sullivan to abandon comic opera in favour of serious music, and after he was knighted in 1883, the pressure increased. He soon regretted signing the five-year contract. In March 1884, Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself."

During this conflict and others during the 1880s, Carte and Helen Lenoir frequently worked to smooth over the partners' differences using a mixture of friendship and business acumen. Sullivan asked to be released from the partnership on several occasions. Nevertheless, Carte was able to coax eight comic operas out of his partners between 1879 and 1896. When *Princess Ida* closed after a comparatively short run of nine months, for the first time in the partnership's history, a new opera was not ready. Gilbert first suggested a plot in which people fell in love against their wills after taking a magic lozenge – a scenario that Sullivan had previously rejected. Gilbert eventually came up with a new idea and began work in May 1884.

Carte produced the first revival of *The Sorcerer*, together with *Trial by Jury*, and matinees of *The Pirates of Penzance* played by a cast of children, while he waited for his partners to finish writing the new work. This became the partnership's most successful opera, *The Mikado*, which opened in March 1885. The piece satirised British institutions by setting them in a fictional Japan and took advantage of the Victorian craze for the exotic and "picturesque" Far East. *The Mikado* became the partnership's longest-running hit, lasting for 672 performances at the Savoy Theatre, and supplanting *Patience* as the second-longest-running work of musical theatre up to that time. It was extraordinarily popular in the US and worldwide and remains the most frequently performed Savoy Opera. The partnership's next opera was *Ruddigore*, which opened in January 1887. The piece, though a financial success, was a relative disappointment after the extraordinary run of *The Mikado*. When *Ruddigore* closed after 288 performances over nine months, Carte mounted revivals of earlier Gilbert and Sullivan operas at the Savoy for almost a year. After another attempt by Gilbert to persuade Sullivan to set a "lozenge plot", Gilbert met his collaborator half way by writing a serio-comic plot for *The Yeomen of the Guard*, which premiered in October 1888. The opera ran for over a year, with strong New York and touring productions. This was a happy time for Carte, with a long-running opera, new marriage and new hotel and opera house under construction. When Carte asked his partners for a new work, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a "dramatic work on a larger musical scale". Gilbert declined but offered a compromise that Sullivan ultimately accepted: the two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera that Carte would produce at a new theatre he was planning to build to present British grand opera. The new comic opera was *The Gondoliers*, which opened in December 1889 and became one of the partnership's greatest successes, with an initial run of 554 performances.

During these years, Carte was not just the manager of the theatre. He was a full participant in the producing partnership with Gilbert and Sullivan, involved in casting and finding designers; in charge of publicity; directing and hiring designers for the non-Gilbert works, including the many companion pieces (sometimes with the help of assistants); and casting, directing and rehearsing the touring companies, among other duties. According to Henry Lytton, "Mr. Carte was a great stage manager. He could take in the details of a scene with one sweep of his eagle eye and say unerringly just what was wrong." The quality of Carte's productions created a national and international taste for them, and he sent touring companies throughout the British provinces, to America (generally managed by Helen), Europe and elsewhere. Queen Victoria honoured the company by calling for a Royal Command Performance of *The Gondoliers* at Windsor Castle in 1891. Bernard Shaw, writing in *The World* in October 1893, said:

> Those who are old enough to compare the Savoy performances with those of the dark ages, taking into account the pictorial treatment of the fabrics and colors on the stage, the cultivation and intelligence of the choristers, the quality of the orchestra, and the degree of artistic good breeding, so to speak, expected from the principals, best know how great an advance has been made by Mr. D'Oyly Carte.

### Later years

On 22 April 1890, during the run of *The Gondoliers*, Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert angrily confronted Carte, but Carte refused to reconsider the accounts. Even though the amount of the charge was not great, Gilbert felt that it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert stormed out and wrote to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." Matters deteriorated further, and Gilbert brought a lawsuit. Sullivan sided with Carte, who was building the Royal English Opera House, the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the dispute and felt vindicated, but his actions had been hurtful to his partners, and the partnership disbanded.

Carte's first production at the Royal English Opera House was of Sullivan's only grand opera, *Ivanhoe*, which opened in January 1891. It played for an initial run of 155 performances, a record for an opera. When it finally closed in July, Carte had no new work ready to play at the opera house, and so it had to close. The opera house re-opened in November 1891 with André Messager's *La Basoche* at first alternating in repertory with *Ivanhoe*, and then *La Basoche* played alone, closing in January 1892. Carte again had no new opera to present at the house, and the venture soon failed. Sir Henry Wood, who as young man had been répétiteur for the production, recalled in his autobiography, "If D'Oyly Carte had had a repertory of six operas instead of only one, I believe he would have established English opera in London for all time. Towards the end of the run of *Ivanhoe* I was already preparing *The Flying Dutchman* with Eugène Oudin in the name part. He would have been superb. However, plans were altered and the *Dutchman* was shelved." Carte leased the theatre to Sarah Bernhardt for a season and finally abandoned the project. He sold the opera house at a loss to the impresario Sir Augustus Harris. It was then converted into a music hall, the Palace Theatre of Varieties, and later became the Palace Theatre.

Because of the carpet quarrel, Gilbert had vowed to write no more for the Savoy. When *The Gondoliers* closed in 1891, Carte needed new authors and composers to write works for the Savoy Theatre. He turned to old friends George Dance, Frank Desprez and Edward Solomon for his next piece, *The Nautch Girl*, which ran for a satisfying 200 performances in 1891–92. Carte then revived Solomon and Sydney Grundy's *The Vicar of Bray*, which ran through the summer of 1892. Next came Grundy and Sullivan's *Haddon Hall*, which held the stage until April 1893. While Carte presented new pieces and revivals at the Savoy, his touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America.

Gilbert's aggressive, though successful, legal action had embittered Carte and Sullivan, but the partnership had been so profitable that Carte and his wife eventually sought to reunite the author and composer. After several attempts by the Cartes, the reconciliation finally came through the efforts of Tom Chappell, who published the sheet music to their operas. In 1893, Gilbert and Sullivan produced their penultimate collaboration, *Utopia, Limited*. While that was being prepared, Carte staged *Jane Annie*, by J. M. Barrie and Arthur Conan Doyle, with music by Ernest Ford. Despite the popularity of Barrie and Conan Doyle, the show was a flop, closing after only 51 performances.

*Utopia* was Carte's most expensive production to date, but it ran for a comparatively disappointing 245 performances, until June 1894. Carte then played first *Mirette*, by Messager, then *The Chieftain*, by F. C. Burnand and Sullivan. These ran for 102 and 97 performances, respectively. The company then toured the London suburbs, and the Savoy was leased to other managements until November, when Carte presented a revival of *The Mikado*. This was followed in 1896 by *The Grand Duke*, which ran for 123 performances and was Gilbert and Sullivan's only financial failure. *The Gondoliers* turned out to be Gilbert and Sullivan's last big hit, and after *The Grand Duke*, the two men never collaborated again. At the Savoy, Carte produced *His Majesty* (1897), *The Grand Duchess of Gerolstein* (1897), *The Beauty Stone* (1898) and *The Lucky Star* (1899), as well as revivals of the Gilbert and Sullivan operas.

Though the 1890s brought Carte more disappointments than hits in the theatre, his hotel business prospered and grew. He acquired Simpson's-in-the-Strand and Claridge's Hotel, both of which he entirely rebuilt. There was one grave setback, in 1897, when he had to dismiss his manager, Ritz, and his star chef, Escoffier, for financial misconduct. Carte's choice as successor to Ritz was George Reeves-Smith, manager and part-owner of the Berkeley Hotel. To secure his services, Carte bought the Berkeley in 1900 and promoted Reeves-Smith to be managing director of the whole Savoy Group. Carte had used the same method, a year earlier, to secure a new maître d'hôtel. He was determined to engage M. Joseph, proprietor of the Marivaux Restaurant in Paris, then at the height of its fame. Carte was seriously ill, but he insisted on being carried to the boat-train. In Paris he bought the Marivaux and returned with Joseph to the Savoy.

Throughout the later 1890s, Carte's health was in decline, and Helen assumed more and more of the responsibilities for the opera company. She profitably managed the theatre and the provincial touring companies. In 1894, Carte had hired his son, Rupert, as an assistant. While Carte was ill, in 1897, Rupert assisted Mrs Carte and Gilbert with the first revival of *The Yeomen of the Guard* at the Savoy. The Savoy put on a number of shows for comparatively short runs during this period, including Sullivan's *The Beauty Stone*, which ran for only 50 performances, in 1898. In 1899, Carte finally had a new success with Sullivan and Basil Hood's *The Rose of Persia*, which ran for 213 performances. Neither Carte nor Sullivan lived to see the production of the next piece by Hood, *The Emerald Isle*, for which Edward German completed Sullivan's unfinished score.

## Personal life

Carte was married twice. His first wife was Blanche Julia Prowse (1853–1885), the daughter of William Prowse, a piano manufacturer, music publisher and booking agent. As a teenager, she had participated in amateur theatricals with Carte. They married in 1870 and had two sons, Lucas (1872–1907) and Rupert. Blanche died of pneumonia in 1885, and in 1888, Carte married his assistant, Helen Lenoir. Their wedding took place in the Savoy Chapel, with Arthur Sullivan as the best man. Rupert received training in an accounting firm and then became his father's assistant in 1894. Lucas, who was not involved in the family businesses, became a barrister. He was appointed Private Secretary to Lord Chief Justice Charles Russell in 1899 in connection with the Venezuelan boundary arbitration in Paris. He contracted tuberculosis of which he died at the age of 34.

Carte's London house was at the Adelphi, not far from the Savoy. Passionate about the visual arts as well as the performing arts, Carte invited his friend, the artist James McNeill Whistler, to decorate the house. Whistler had the entire billiard room painted the colour of the billiard cloth, and elsewhere painted his favourite yellow with his own hand. Equally enthusiastic for technological innovation, Carte installed a lift, the first in a private house in England. Around 1890, he bought a small island in the River Thames, between Weybridge and Shepperton, called Folly Eyot, which he renamed D'Oyly Carte Island. He wanted to use the island as an annex to his new Savoy Hotel, but the local authorities refused to grant him a drinks licence for the property. Instead, he built Eyot House, a large house and garden on the island, that he used as a residence and where he entertained guests. In later years, Carte displayed his macabre sense of humour by keeping a crocodile on the island.

## Death and legacy

Carte died at his London home from dropsy and heart disease in 1901, just short of his 57th birthday. He is buried in the churchyard of St Andrew's in Fairlight, East Sussex, near his parents' graves. A memorial service was held at the Chapel Royal of the Savoy, where a memorial stained glass window was later dedicated to him. He left an estate valued at £250,000.

Carte was instrumental in bringing the British theatre from its low status in the mid-Victorian age to a position of respectable eminence, with knighthoods for actors, such as Henry Irving, and for dramatists, including Gilbert. Bernard Shaw wrote of Carte's theatrical legacy, "Mr D'Oyly Carte founded a new school of English comic opera; raised operatic inscenation to the rank of a fine art; and finally built a new English Opera House and made a magnificent effort to do for English grand opera what he had done for comic opera." In Carte's obituary, *The Times* noted, "By his refined taste he raised the reputation of the *mise en scène* of the Savoy operas to a very high pitch. He set a high standard". Beyond this, however, Carte's influence, through the production of the Savoy operas, heavily influenced the course of the development of modern musical theatre.

Carte was also a prime mover in making hotels respectable and respected: in the words of the *Oxford Dictionary of National Biography*: "Led by the prince of Wales \[the Savoy\] became the meeting place for London high society and the *nouveaux riches* of the British empire.... \[The\] food and the ambience lured people from the clubs to dine in public and give great parties there. It allowed ladies, hitherto fearful of dining in public, to be seen in full regalia in the Savoy dining and supper rooms."

Carte left the theatre, opera company, hotels and his other business interests to Helen. Her London and touring companies continued to present the Savoy Operas in Britain and overseas. In 1901 she leased the Savoy Theatre to William Greet, overseeing his management of a revival of *Iolanthe* and several new comic operas. Rupert became chairman of the Savoy Hotel by 1903, which Helen continued to own. In late 1906, Helen staged a Gilbert and Sullivan repertory season at the Savoy Theatre. The season, and the following one, which were both directed by Gilbert, earned excellent reviews and sold well, revitalising the company. After the second repertory season concluded in 1909 the company did not perform in London again until 1919, only touring throughout Britain during that time.

At her death in 1913, Helen passed the family businesses to Carte's son, Rupert. He maintained the hotel business, disposing of the Grand Hotel in Rome, but expanding the group in London. The Savoy Group remained under the control of the Carte family and its associates until 1994. Carte's hotels have remained among the most prestigious in London, with the *London Evening Standard* calling the Savoy "London's most famous hotel" in 2009.

Rupert D'Oyly Carte refreshed the opera company's productions and added London seasons, beginning in 1919, as well as provincial and foreign tours. In 1948 Rupert died, leaving a strong company to his daughter Bridget D'Oyly Carte. However, the rising costs of mounting professional light opera without any government support eventually became too much for the company. Bridget was forced to close the company in 1982. Nevertheless, the Gilbert and Sullivan operas continue to be produced frequently today throughout the English-speaking world and beyond, and Carte's vision of wholesome light operas that celebrate Great Britain endures.

## Notes, references and sources

### Notes

### References

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3. Seeley, Chapter 1
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5. Seeley, p. 6 and Appendix 2
6. "Theatrical Mems", *Bristol Mercury*, 19 May 1888, p. 3
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64. Rollins and Witts, p. 6
65. "Supreme Court of Judicature, Aug. 1 – Court of Appeal – Gilbert v. The Comedy Opera Company Limited", *The Times*, 2 August 1879, p. 4
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68. Gaye, p. 1530; and Gillan, Don. "Longest Running Plays in London and New York", Stagebeauty.net, 2007, accessed 8 October 2009
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72. Morrison, Robert. "The J. C. Williamson Gilbert and Sullivan Opera Company" Archived 25 January 2010 at the Wayback Machine, *A Gilbert and Sullivan Discography*, 12 November 2001, accessed 2 October 2009
73. Bentley, Paul. "J. C. Williamson Limited" Archived 3 December 2008 at the Wayback Machine, The Wolanski Foundation, January 2000, accessed 11 April 2009
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76. Bradley, pp. 86–87
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79. Stedman, pp. 181–182; and Jacobs, pp. 147–148
80. Crowther, Andrew. "Bunthorne and Oscar Wilde" Archived 5 May 2011 at the Wayback Machine, *The Gilbert and Sullivan Archive*, 8 June 2009
81. Richard D'Oyly Carte Interview Archived 29 April 2015 at the Wayback Machine, *Freeman's Journal*, 25 January 1882, reprinted at the Gilbert and Sullivan Archive, 2 November 2011
82. "100 Electrifying Years", *The Savoyard*, Volume XX no. 2, D'Oyly Carte Opera Trust, September 1981, pp. 4–6; and Ainger, pp. 172–172
83. Joseph, p. 79
84. Wearing, J. P. "The London West End Theatre in the 1890s" Archived 9 June 2016 at the Wayback Machine, *Educational Theatre Journal*, Vol. 29, No. 3 (October 1977), pp. 320–332 (subscription required)
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88. "Cinegram of the 1939 *Mikado* film". Retrieved 11 January 2019.
89. "Savoy 2009 Leading the Past" Archived 19 February 2009 at the Wayback Machine, Savoy Hotel website, 2009
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116. Rollins and Witts, pp. 15–18
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118. Lytton, p. 66
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127. "The Savoyards on Tour", *The Sketch*, 13 June 1894, pp. 373–374
128. Young, p. 193
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### Sources

## Further reading

* Williams, Olivia (2020). *The Secret Life of the Savoy – and the D'Oyly Carte family*. Headline. ISBN 978-1-472-26979-9.


abstract: Riceville Township is a township in Becker County, Minnesota, United States. The population was 83 as of the 2010 census. Riceville Township derives its name from the Wild Rice River.

text:
# Riceville Township, Becker County, Minnesota

**Riceville Township** is a township in Becker County, Minnesota, United States. The population was 83 as of the 2010 census. Riceville Township derives its name from the Wild Rice River.

## Geography

According to the United States Census Bureau, the township has a total area of 37.5 square miles (97.3 km2), of which 37.0 square miles (95.9 km2) is land and 0.5 square miles (1.3 km2) (1.36%) is water.

### Lakes

* Plum Grove Lake
* Trotterchaud Lake

### Adjacent townships

## Demographics

As of the census of 2010, there were 83 people, 31 households, and 23 families residing in the township. The population density was 2.2 people per square mile (0.8/km2). There were 33 housing units at an average density of 1.1/sq mi (0.3/km2). The racial makeup of the township was 85.5% White, 4.8% Hispanic or Latino and 9.6% from two or more races.

There were 31 households, out of which 32.3% had children under the age of 18 living with them, 64.5% were married couples living together, 3.2% had a female householder with no husband present, and 25.8% were non-families. 22.6% of all households were made up of individuals, and 6.5% had someone living alone who was 65 years of age or older. The average household size was 2.65 and the average family size was 3.09.

In the township the population was spread out, with 28.9% under the age of 18, 3.8% from 18 to 24, 20.4% from 25 to 44, 31.2% from 45 to 64, and 15.7% who were 65 years of age or older. The median age was 43.5 years. There were 49 males (59%) and 34 females (41%).

The median income for a household in the township was $42,500, and the median income for a family was $36,250. Individuals below the poverty line was 1.3%. According to the 2010 Census, Males had a median income of $28,125 versus $20,000 for females. The per capita income for the township was $10,999.

## InfoBox

| Riceville Township, Minnesota | |
| --- | --- |
| Township | |
| Riceville Township, MinnesotaLocation within the state of MinnesotaRiceville Township, MinnesotaRiceville Township, Minnesota (the United States) | |
| Coordinates: 47°0′49″N 95°59′41″W / 47.01361°N 95.99472°W / 47.01361; -95.99472 | |
| Country | United States |
| State | Minnesota |
| County | Becker |
| Area | |
| Total | 37.5 sq mi (97.2 km2) |
| Land | 37.0 sq mi (95.9 km2) |
| Water | 0.5 sq mi (1.3 km2) |
| Elevation | 1,237 ft (377 m) |
| Population (2010) | |
| Total | 83 |
| Density | 2.2/sq mi (0.9/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| FIPS code | 27-54142 |
| GNIS feature ID | 0665410 |


title: Riceyman Steps

abstract: Riceyman Steps is a novel by British novelist Arnold Bennett, first published in 1923 and winner of that year's James Tait Black Memorial Prize for fiction. It follows a year in the life of Henry Earlforward, a miserly second-hand bookshop owner in the Clerkenwell area of London.

text:
# Riceyman Steps

***Riceyman Steps*** is a novel by British novelist Arnold Bennett, first published in 1923 and winner of that year's James Tait Black Memorial Prize for fiction. It follows a year in the life of Henry Earlforward, a miserly second-hand bookshop owner in the Clerkenwell area of London.

## Background

Arnold Bennett was a keen amateur sailor and it was while on sailing trips on the Solent he discovered a chaotic second-hand bookshop in Southampton. He would visit the shop when bad weather prevented sailing and on one visit he bought a book on misers for sixpence. This book and the shop itself became the inspiration for this novel. Bennett also loved the Clerkenwell district of London which with its unpretentious working class life reminded him of his own origins in the Potteries. The location Riceyman Steps was modelled on Granville Place (now Gwynne Place) the steps of which lead up from King's Cross Road to Granville Square. Bennett's steps are "twenty in number, ... divided by a half-landing into two series of ten", whereas the steps of Granville Place number (from the bottom) fifteen, with eleven more from the half-landing. Granville Square, now a residential square containing a small park, was in 1923 dominated by St Philip's Church, which was demolished in 1936.

## Plot summary

The story takes place in 1919–1920, just after the First World War, and is divided into five parts. It deals with the final year in the life of its main character, Henry Earlforward, a miser with a slight limp, who keeps a second-hand bookshop in the Clerkenwell area of London, at Riceyman Steps. Henry harbours a secret passion for Violet Arb, a widow who inherits a neighbouring confectionery shop. When Henry tries to woo Violet, the widow realizes that they share the same charwoman and maid servant in the simple, loyal Elsie Sprickett.

When Elsie's boyfriend, the shell-shocked war veteran Joe, loses self-control and runs after Violet with a carving-knife at her shop, Henry gallantly intervenes after Violet approaches Henry for help. Violet, who sees in Henry a financially secure future, finally decides to marry him after a short courtship. Joe, meanwhile, disappears after writing a letter to Elsie that he will come for her when he has recovered from his traumatic disorder.

Henry's parsimony drives the married couple into an increasingly wretched existence. He is aghast, for example, when Violet spends fourteen pounds vacuuming his dusty shop as a wedding present. He begins eating less and less, even forgoing meat for cheese, and refuses to go to the hospital to treat his undernourishment when the doctor and his wife insist that he does. All the while Elsie stands devoted to the couple, despite having problems of her own—she pines secretly for Joe, and pilfers food to binge eat at night.

Their lives—in which Henry's passion for money and his obstinacy finally consume himself and his wife—are contrasted to that of their loyal maid servant Elsie Sprickett, and it is the latter, despite her extreme poverty, who brings life and a future to the bittersweet tale.

## Characters

* Henry Earlforward
* Violet Arb (later Earlforward)
* Elsie Sprickett
* Joe
* Dr Raste

The character of Elsie reappears in *Elsie and the Child: A Tale of Riceyman Steps and Other Stories* (1924).

51°31′38″N 00°06′50″W / 51.52722°N 0.11389°W / 51.52722; -0.11389

## InfoBox

Riceyman Steps
| First edition | |
| --- | --- |
| Author | Arnold Bennett |
| Language | English |
| Publisher | Cassell and Company Ltd |
| Publication date | 1923 |
| Publication place | United Kingdom |
| ISBN | 0-19-281373-0 |
| OCLC | 8928895 |
| Dewey Decimal | 823/.912 19 |
| LC Class | PR6003.E6 R5 1984 |