It’s a case of cold feet—and cold-blooded murder—as 92-year-old poet/sleuth Victoria Trumbull gets more than she bargained for after hosting an ill-fated wedding. A wedding on picturesque Martha’s Vineyard promises to be the affair of the season when Penny Arbuthnot asks her cousin, feisty 92-year-old poet Victoria Trumbull, if she can use her property for the reception. Victoria agrees—but she has no idea what’s in store for the hapless couple. For one, Penny is seriously in debt and desperate to marry money. She thinks she’s on the road to riches when she hooks Rocco Bufano, whose father is a multi-billionaire. But unbeknownst to Penny, Rocco’s been disowned by dad. He’s also in hock up to his ears, and thinks he’s bagged the catch of a lifetime in a wealthy Vineyard native. He also knows that someone is out to kill him. In fact, several guests have a reason to off Rocco, among them an autistic savant with a prodigious knowledge of murder weapons. Victoria has assumed the reception will be a modest lemonade-and-gingersnap affair—but when a body is found in her cellar, it may be a happily-never-after in Widow’s Wreath, the fourteenth engaging installment in Cynthia Riggs’s beloved Martha’s Vineyard mysteries.

Through a visually oriented investigation of historical (in)visibility in early modern Italy, the essays in this volume recover those women - wives, widows, mistresses, the illegitimate - who have been erased from history in modern literature, rendered invisible or obscured by history or scholarship, as well as those who were overshadowed by male relatives, political accident, or spatial location. A multi-faceted invisibility of the individual and of the object is the thread that unites the chapters in this volume. Though some women chose to be invisible, for example the cloistered nun, these essays show that in fact, their voices are heard or seen through their commissions and their patronage of the arts, which afforded them some visibility. Invisibility is also examined in terms of commissions which are no longer extant or are inaccessible. What is revealed throughout the essays is a new way of looking at works of art, a new way to visualize the past by addressing representational invisibility, the marginalized or absent subject or object and historical (in)visibility to discover who does the 'looking,' and how this shapes how something or someone is visible or invisible. The result is a more nuanced understanding of the place of women and gender in early modern Italy.

During the 19th century, death shadowed daily life. A high infant mortality rate, poor sanitation, risk during childbirth, poisons, ignorance, and war kept 19th-century Americans busy practicing the ritual of mourning. The Victorian era in both Europe and America saw these rituals elevated to an art form expressing not only grief, but also religious feeling, social obligation, and even mourning fashion. Complete with period illustrations, Widow's Weeds and Weeping Veils explores how Victorians viewed death and dying as a result of the profound historical events of their time. This concise, informative work is ideal for students of Victorian-era culture and Civil War enthusiasts.