“An inventive continuation of the Bianca Goddard series . . . a page-turner for all who appreciate fiction set in early Renaissance England.”—Mystery Maven During the tempestuous reign of Henry VIII, London alchemist Bianca Goddard has seen up close what keeps a man alive—and what can kill him. A good thing, for she will need all her knowledge to keep a friend away from the gallows . . . Bianca and her husband are delighted to share in the glad fortune of their friend, Boisvert, the silversmith, who is to wed Odile, the wealthy widow of a goldsmith. But a pall is cast over the upcoming nuptials when the body of a pregnant woman is found beneath the bell tower of St. Vedast, the very church where the betrothed are to be married. Tragedy strikes again at the couple’s reception, when Odile suddenly drops dead in the middle of the wedding feast. The constable suspects Boisvert poisoned his new bride for her money, but there’s not a trace of poison in her food or wine. Could the two deaths be connected? To prove their friend’s innocence, Bianca will need to employ her knowledge of alchemy—for if she can determine how the bride was killed, she may find the person responsible for her murder—before another victim is added to the death toll . . . Praise for The Alchemist’s Daughter “Unique characters, a twisty plot and a bold, bright heroine . . . Mystery and Tudor fans alike will raise a glass to this new series.”—Karen Harper, New York Times bestselling author

It may seem astonishing to some that there is a need for reprinting a 14-year old dissertation, but the fact is that the book is exactly as relevant to scholars today as it was in 1993. It still represents the world's largest database to compare the responsories of the Office of the Dead in more than 2,000 sources. Since the order of these responsories differed from church to church, this order can be used to localize medieval and Renaissance liturgical books. The book is therefore an absolute necessity for everyone who conducts research on the area it covers. Put differently, the book reveals 'the geography of the concept of death' in Europe from the 9th-16th centuries from a theological, liturgical, ecclesiastical, musical and political perspective - seen from one particular liturgical office: The Office of the Dead.