Page:EB1911 - Volume 23.djvu/404

 Quick or the Dead? (1888); she married John A. Chanler in 1888, and after their divorce married in 1896 Prince Pierre Troubetzkoy of Russia.

RIVET (O. Fr. rivet, from river, to fix, fasten together, of unknown origin; Skeat compares Icel. rifa, to stitch together), a metal pin or bolt used to fasten metal plates together. A rivet, made of wrought iron, copper or other malleable substance, is usually made with a head at one end, the other end being hammered out after passing through the plates so as to keep them closely fastened together. A “bolt” differs from a rivet in that one or both ends have screw-threads to hold a nut (see ).

RIVIERA, the narrow belt of coast which lies between the mountains and the sea all round the Gulf of Genoa in the north of Italy, extending from Nice on the W. to Spezia on the E. It is usually spoken of as Riviera di Ponente (“the coast of the setting sun”), the portion between Nice and the city of Genoa; and as Riviera di Levante (“the coast of the rising sun”), the portion from Genoa to Spezia. All this district, being open to the S. and sheltered from the N. and E. winds, enjoys a remarkably mild climate (winter mean, about 49° Fahr.); so much so that the vegetation in many places partakes of a subtropical character (e.g. the pomegranate, agave, prickly pear, date, palm and banana). Large numbers of flowers, especially roses, violets, hyacinths, &c., are grown near Nice, Mentone, Bordighera and other towns, and sent to the London and Paris markets. Bordighera is particularly noted for its noble groves of date-palms, one of the few places in Europe where these trees grow. The uncommon mildness of the climate, conjoined with the natural beauty of the coast scenery,—the steep sea-crags, the ruined towers and the range of the Maritime Alps,—attracts thousands of invalids and convalescents to spend the winter in the chain of towns and villages which stretch from the one end of the Riviera to the other, while these resorts are frequented for sea-bathing in summer by the Italians. Proceeding from W. to E. the following are the places to which visitors principally resort: Nice, Monaco (an independent principality), Monte Carlo, Mentone (the last town on the French Riviera), Ventimiglia, Bordighera, Ospedaletti, San Remo, Porto Maurizio, Oneglia, Diano Marina, Alassio, Arenzano, Pegli (in the Riviera di Ponente), and Nervi, Santa Margherita, Rapallo, Chiavari, Sestri Levante, Levanto, Spezia, and San Terenzo (Lerici) in the Riviera di Levante. The Riviera labours, however, under the grave drawback of being liable to earthquakes. In the 19th century there were four such visitations, in 1818, 1831, 1854 and 1887, which especially affected the western Riviera. A railway runs close along the shore all through the Riviera, the distance from Nice to Genoa being 116 m., and the distance from Genoa to Spezia 56 m. In the latter stretch the line burrows through the many projecting headlands by means of more than eighty tunnels. The pearl of the eastern Riviera is the stretch (6 to 7 m.) between Rapallo and Chiavari. Lord Byron and Shelley both lived and wrote on the shores of the Gulf of Spezia, and Dickens wrote The Chimes at Genoa.

RIVIERE, BRITON (1840–), English artist, was born in London on the 14th of August 1840. His father, William Riviere, was for some years drawing-master at Cheltenham College, and afterwards an art teacher at Oxford. He was educated at Cheltenham College and at Oxford, where he took his degree in 1867. For his art training he was indebted almost entirely to his father, and early in life made for himself a place of importance among the artists of his time. His first pictures appeared at the British Institution, and in 1857 he exhibited three works at the Royal Academy, but it was not until 1863 that he became a regular contributor to the Academy exhibitions. In that year he was represented by “The Eve of the Spanish Armada,” and in 1864 by a “Romeo and Juliet.” Subjects of this kind did not, however, attract him long, for in 1865 he began, with a picture of a “Sleeping Deerhound,” that series of paintings of animal-subjects which has since occupied him almost exclusively. Among the most memorable of his productions are: “The Poacher’s Nurse” (1866), “Circe” (1871), “Daniel” (1872), “The Last of the Garrison” (1875), “Lazarus” (1877), “Persepolis” (1878), “In Manus Tuas, Domine” (1879), “The Magician’s Doorway” (1882), “Vac Victis” (1885), “Rizpah” (1886), “An Old-World Wanderer” (1887), “Of a Fool and his Folly there is no End” (1889), “A Mighty Hunter before the Lord” (1891), “The King’s Libation” (1893), “Beyond Man’s Footsteps” (1894), now in the National Gallery of British Art; “Phoebus Apollo” (1895); “Aggravation” (1896), “St George” (1900), and “To the Hills” (1901). He has also painted portraits; and at the outset of his career made some mark as an illustrator, beginning with Punch. He was elected an Associate of the Royal Academy in 1878, and R.A. in 1881, and received the degree of D.C.L. at Oxford in 1891.

RIVINGTON, CHARLES (1688–1742), British publisher, was born at Chesterfield, Derbyshire, in 1688. Coming to London as apprentice to a bookseller, he took over in 1711 the publishing business of Richard Chiswell (1639–1711), and, at the sign of the Bible and the Crown in Paternoster Row, he carried on a business almost entirely connected with theological and educational literature. He also published one of Whitefield’s earliest works, and brought out an edition of the Imitation of Christ. In 1736 Rivington founded the company of booksellers who called themselves the “New Conger,” in rivalry with the older association, the “Conger,” dating from about 1700. In 1741 he published the first volume of Richardson’s Pamela. Charles Rivington died on the 22nd of February 1742, and was succeeded by his two sons, John (1720–1792) and James (1724–1802). James emigrated to America, and pursued his trade in New York (see, U.S.A.); John carried on the business on the lines marked out by his father, and was the great Church of England publisher of the day. In 1760 he was appointed publisher to the Society for Promoting Christian Knowledge, and the firm retained the agency for over seventy years. Having admitted his sons Francis (1745–1822) and Charles (1754–1831) into partnership he undertook for the “New Conger” Association the issue of a standard edition of the works of Shakespeare, Milton, Locke and other British classics; also Cruden’s Concordance. John Rivington died on the 16th of January 1792. In 1810 John (1779–1841), the eldest son of Francis, was admitted a partner. In 1827 George (1801–1858) and Francis (1805–1885), sons of Charles Rivington, joined the firm. Rivington contracted further ties with the High Church party by the publication (1833, &c.) of Tracts for the Times. John Rivington died on the 21st of November 1841, his son, John Rivington (1812–1886) having been admitted a partner in 1836. George Rivington died in 1858; and in 1859 Francis Rivington retired, leaving the conduct of affairs in the hands of John Rivington and his own sons, Francis Hansard (b. 1834) and Septimus (b. 1846). In 1890 the business was sold to Messrs (q.v.). A business of the same character was, however, carried on from 1889 to 1893 by Mr Septimus Rivington and Mr John Guthrie Percival, as Percival & Co. This was changed in 1893 to Rivington, Percival & Co.; and in 1897 the firm revived its earlier title of Rivington & Co., maintaining its reputation for educational works and its connexion with the Moderate and High Church party.

RIVOLI VERONESE, a village of Venetia, Italy, in the province of Verona, on a hill on the right; bank of the Adige, 13 m. N.W. of Verona, 617 ft. above sea-level. Pop. (1901) 1340. It is celebrated as the scene of the battle in which, on the 15th of January 1797, Napoleon inflicted a decisive defeat upon the Austrians commanded by Josef Alvintzi, Baron von Barberek (1735–1810) (see ). A famous street in Paris (Rue de Rivoli) commemorates