Death in the Floating City (Lady Emily Series #7)

Death in the Floating City (Lady Emily Series #7)

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by Tasha Alexander

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The Huffington Post calls Tears of Pearl author Tasha Alexander "one to watch—and read" and her new Lady Emily mystery set in Venice proves it!

Years ago, Emily's childhood nemesis, Emma Callum, scandalized polite society when she eloped to Venice with an Italian count. But now her father-in-law lies murdered, and her husband has


The Huffington Post calls Tears of Pearl author Tasha Alexander "one to watch—and read" and her new Lady Emily mystery set in Venice proves it!

Years ago, Emily's childhood nemesis, Emma Callum, scandalized polite society when she eloped to Venice with an Italian count. But now her father-in-law lies murdered, and her husband has vanished. There's no one Emma can turn to for help but Emily, who leaves at once with her husband, the dashing Colin Hargreaves, for Venice. There, her investigations take her from opulent palazzi to slums, libraries, and bordellos. Emily soon realizes that to solve the present day crime, she must first unravel a centuries old puzzle. But the past does not give up its secrets easily, especially when these revelations might threaten the interests of some very powerful people.

Editorial Reviews

Publishers Weekly
Alexander’s featherweight seventh Victorian historical (after 2011’s A Crimson Mourning) takes Lady Emily and her British intelligence husband, Colin Hargreaves, to Venice, Italy. Emily’s not-so-BFF, Emma Callum, wants the crack-detective couple to solve the stabbing murder of her father-in-law, since the Venetian police have failed to do so. Emma also hopes they can locate her missing husband, who she is sure is innocent of his father’s murder. While Emily is loath to take the case because Emma has rubbed her the wrong way since childhood, she accepts her duty with as much grace as she can muster. The claws-on-a-chalkboard persiflage commences the moment the two women meet face to face and provides some of the book’s best dialogue. Running concurrently with the suspense story are heartrending chapters recounting a centuries-old ill-fated love affair that ties to the murder mystery. Period purists may have a problem with Lady Emily’s anachronistic vocabulary. Agent: Anne Hawkins, John Hawkins & Associates. (Oct.)
From the Publisher

“Tasha Alexander has created Victorian London's most colorful and delightfully eccentric sleuth.” —Jacqueline Winspear on A Crimson Warning

“Tasha Alexander is one to watch--and read . . . Lady Emily's evolution is fascinating, bookended by restrictive mores and worldly ambitions, filled with dashing suitors, amusing scoundrels and diabolical fiends, plus ladies dear and trustworthy (and alarmingly otherwise).” —The Huffington Post on Dangerous to Know

“Emily is a most independent woman for her time. Her voice and the accurate historical details will keep the reader enthralled.” —Romantic Times (4 ½ stars) on Tears of Pearl

Library Journal
In this seventh installment of Alexander's Victorian series (after A Crimson Warning), Lady Emily Hargreaves and her husband travel to Venice to investigate a murder tied to a series of old manuscripts. Trying to clear the name of an acquaintance, Lady Emily finds Emma Barozzi as secretive and duplicitous as ever. Enlisting the help of a local historian and his daughter, Lady Emily searches archives, palazzos, and the hidden passages of Venice to uncover the truth behind the mysteries (both ancient and current) tied to her friend's infamous family name. VERDICT This dependable series with plucky heroines and memorable villainesses is filled with local and period detail. An exceptionally good bet for readers who appreciate historical mysteries and the combination of past and present voices. [See Prepub Alert, 7/2/12.]—Catherine Lantz, Morton Coll. Lib., Cicero, IL
Kirkus Reviews
Lady Emily investigates the murder of a Venetian count, unleashing a veritable Pandora's boxful of ancient scandals. In this latest addition to Alexander's Lady Emily Victorian mystery series (A Crimson Warning, 2011, etc.), our heroine, along with her fetching husband of five years, Colin Hargreaves, arrives in Venice to aid her erstwhile rival, Emma, who married Paolo, son and heir of the Barozzi family, only to discover that the fortunes of this hoary branch of Venetian nobility were in serious decline. Now, the patriarch, Conte Barozzi, is dead of stab wounds, Paolo has gone into hiding, and there are no clues to the identity of the murderer, or rather, too many clues. A ruby ring with the initials BB and NV is found clutched in the deceased conte's hand. With the aid of a bookseller's scholarly daughter, Donata, Lady Emily tracks down an array of leads. Venice, it seems, does not lack for those who had it in for Conte Barozzi. Among them are Paolo, whose inheritance might have been at stake, a fired Barozzi gardener, and two women whom the conte antagonized, including a medium who delivered an unpleasant message from his late wife. And of course, Vendelinos are always suspect when a Barozzi is murdered--the feud between the two noble Venetian families dates back to the crusades. Interspersed with Emily's peregrinations of the watery city are short vignettes about the doomed love between Besina Barozzi and Nicolò Vendelino in late-15th-century Venice. Forbidden to marry Nicolò, Besina is forced by her parents into a marriage with a brutal man. Before she ends her days in a convent, a tryst with Nicolò results in a son whose legacy may hold the key to both the Barozzi financial quagmire and the conte's murder. Just exactly how involves multiple threads as convoluted and murky as Venetian back alleyways, but thanks to authoritative depictions of Venice's history, atmosphere and culinary delights, the story glides along as smoothly as a gondola. Lady Emily travels well.

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St. Martin's Press
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Lady Emily Series , #7
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Death in the Floating City

By Tasha Alexander

St. Martin's Press

Copyright © 2012 Tasha Alexander
All rights reserved.
ISBN: 978-1-250-01103-9


"I'd expected jewel encrusted, not encased in a layer of dried blood." Almost cringing, I fingered the slim medieval dagger that felt heavier in my hands than its size suggested.

Tourists come to Venice, the city Petrarch called mundus alter, "another world," to take in the opulent beauty of the floating city's palaces, the soft colors and vibrant gold of St. Mark's Basilica, and the rich elegance of Titian's paintings. My trip, however, came without the prospect of such pleasant things. I was standing in a dark, musty palazzo with my childhood nemesis glowering over my shoulder as I inspected the knife an intruder had used to kill her father-in-law. An unpleasant sensation prickled up my neck as I stared down. Instruments of murder are not something with which a lady contends on a daily basis. Particularly not one still bearing evidence of its evil use.

"The police returned it to me in just that condition," Emma Callum said, wrinkling her nose. "I wasn't about to touch it. And the servants point-blank refused to clean it. I'd fire the lot of them if my Italian were better."

I liked to believe the majority of my fellow countrymen were excellent travelers abroad. Credits to the empire. An Englishman ought to conduct himself in a manner more likely to draw admiration than scorn, and should use his explorations of the world as an opportunity to expand his mind and improve his character. Emma showed no sign of such aspirations, a condition unusual in someone who has chosen to go beyond simple tourist and embrace the life of an expat. Then again, Emma had lived in Italy for three years without bothering even to learn the language.

My husband took the knife from my hand and studied it before laying it on a table. We'd been married just over two years, and Colin Hargreaves still took my breath away every time I looked at his preternaturally handsome face. Early on in our acquaintance (even before I'd abandoned my erroneous suspicion that he'd murdered my first husband — but that's another story altogether), I'd decided his perfectly chiseled features looked as if Praxiteles, my favorite ancient Greek artist, had sculpted them. His dark eyes and darker wavy hair lent him a romantic air that would set Mr. Darcy to permanent brooding and send Heathcliff stalking across the moors, never to return. No man, fictional or real, could compare.

Our hostess, however, was an entirely different matter. One might, perhaps, compare Emma to Miss Bingley or Mrs. Dashwood, but she did not quite reach the level of a great villain of literature. Still, nothing short of murder could have induced me to renew my acquaintance with Emma. We had never been close, and it was unlikely this would ever change. Put simply, she despised me, and I'm ashamed to admit I returned the feeling. When we were six years old, she destroyed my favorite doll, smashing its porcelain face with her boot. She scooped up the pitiful remains of the toy my father had specially brought for me from Paris and ran downstairs from the nursery to the conservatory where our mothers were having tea.

I will never forget the way the conservatory looked that day, the way the sunlight filtered through the leaves of my mother's precious lemon trees, and the scent of bright lilies, which forever after would seem to me heavy and cloying. Emma held out her bounty, her eyes wide with horror, and spoke, her voice trembling.

"Look at the terrible thing Emily has done," she said. From where she conjured her tears, I know not, but her voice grew even more pathetic as she continued. "I told her the dolly was pretty, but she insisted she wanted one with better curls. So she stepped on her. Crushed her head in with her foot and said now she knew she'd get a new one."

"Did she?" My mother's face was inscrutable, but I knew the trouble I was in for.

"It doesn't seem right," Emma said. "To destroy something only to be rewarded."

"I can assure you, Emma, that will not happen."

When I woke up the next morning, all my remaining dolls had disappeared from the nursery, and there was never another one seen in the house.

I knew better than to tattle and didn't even try to defend myself. Any attempt to do so would have been met with even more trouble. Emma and I continued to be thrown together throughout childhood due to our mothers' friendship, but I refused to engage in any but the most basic interaction with her. She did not improve with age. As a debutante, she barraged with attention any gentleman who showed even the slightest interest in me, culminating with a clumsy attempt to wrangle Philip, the Viscount Ashton and at the time my soon-to-be-fiancé, away from me.

It was unlikely our acquaintance would ever grow into a real friendship.

Now Emma needed me, and I was not about to walk away from her, despite our past. Her father-in-law had been murdered, and her husband had disappeared shortly thereafter, an act that, so far as the authorities were concerned, proved his guilt. She sent for me, begging for help. This, in itself, was proof of how desperate she was feeling.

Seeking our assistance was no rash act on Emma's part. My husband, an agent of the Crown, had a reputation for his ability to crack any investigation with his trademark discretion. And I, if I may be so bold as to give myself such a compliment, had proven my own mettle after successfully apprehending six notorious murderers. As a result, the day after reading her panicked wire, my husband and I traveled to Venice and, almost immediately upon our arrival, climbed into a boat and glided out of the slim canal that skimmed the side of the Hotel Danieli. The gondolier rowed us under a single bridge and into the lagoon before turning into the Grand Canal. Sunlight poured around us, its reflection dancing over the ornate facades of the buildings that rose, majestic, straight from the water. We passed the domed church of Santa Maria della Salute, built in the seventeenth century to give thanks for the end of the plague that had killed upwards of a hundred thousand people in the city, and we crossed under the Ponte della Carita, to my mind the ugliest bridge in the city. It was made from iron, did not have a graceful arching form like the famous stone bridges prevalent throughout Venice, and had been placed too low over the water, making it difficult for gondoliers during high tide. Around us, the canal was crowded with boats, the only method of transport in a place with no streets. I'd already decided I didn't miss them. I much preferred the sleek gondolas, with their singing boatmen, to the clatter of horse and carriage.

On both sides of us, glorious palazzi lined the water. Although built with precision, they had succumbed to centuries of shifting waters that left their facades with a pervasive asymmetry. This did not detract from their beauty. It only enhanced the feeling that one was gliding through something out of a dream.

As the elegant stone arches of the Rialto Bridge came into view, the gondolier steered us to the side of the canal and slowed to a stop in front of an imposing fourteenth-century palazzo, seat of the Barozzi family and Emma's marital home. I nearly lost my balance as I stepped out of the gondola onto the slippery marble pavement at the water entrance. My shaky legs told me I was nervous to meet my old rival.

A sinewy man opened a low wooden door and ushered us inside. "Signor Hargreaves?"

Colin nodded.

"Buongiorno. Signora Barozzi is expecting you."

Although Emma's husband bore the title conte even before his father's death (it was given as a courtesy to all of a count's sons), no one in Italy used the term in direct address. Emma, who had made much out of becoming a contessa — always using her title when signing letters and insisting that her parents' servants address her as such when she visited England — must be disappointed to be referred to as signora.

We walked along a dark corridor and up a flight of marble stairs into a dim room, the portego, which ran the entire length of the house. At one end was the Barozzi family restelliera, a display of swords, scimitars, spears, shields, and banners hanging on the wall, below which stood two suits of fifteenth-century armor. At the other, large trefoil windows looked onto the canal, the light pouring through them providing the only illumination in the room. Neither of the large lanterns hanging above us was lit. Portraits of the Barozzi ancestors, in dire need of restoration and cleaning, lined the remaining walls, staring down as if to assert the family's noble roots. The fresco covering the tall ceiling was showing signs of decay — the paint had started to peel — and the bits of terrazzo floor that peeked beyond the edges of a threadbare Oriental carpet had lost their shine. Eloping might not have served Emma quite so well as she had hoped.

Some years back, at the insistence of her parents, Emma had accepted the proposal of the younger son of a minor English nobleman. It had appeared, after several unsuccessful seasons, to be her only hope for marriage. She had resisted the gentleman's affection for months, and we'd all believed she'd done so because she harbored higher aspirations. Who could have guessed that all along the dashing Conte Barozzi had been wooing her from afar and that they had plotted their elopement almost from the time they'd met in a London ballroom?

After their secret marriage, Emma and her new husband fled to the conte's home in Venice, scandalizing the ton, everyone fashionable in society. Her family stood by her, and I'd heard rumors that her father, ever devoted to his difficult daughter, continued to offer her financial support. This gossip led in turn to stories about the conte's lack of fortune. But, as is often the case, trading cash for a title was not considered a bad bargain. Most people agreed the new contessa had done well for herself.

Emma rose from a seat near the windows and crossed the room to greet us. The bright yellow satin of her gown suggested time in Italy hadn't altered her taste in fashion. Garish had always been her signature. She was as skinny and angular as ever, all hard bones and frown lines. I pushed unkind thoughts out of my head, displeased that old habits had got the better of me. I was prepared to let go the troubles of the past. Emma and I were no longer sparring schoolgirls or rival debutantes. I was here to help her.

She did not meet my eyes but focused on Colin instead. My heartbeat quickened as I wondered if she would launch straight into her usual flirtatious ways or if marriage had tempered her.

"Darling Hargreaves," she said, holding a hand out to him. "It's so good of you to come. Both of you." She made a point of looking away from me. "I know I do not deserve your kindness."

"Think nothing of it," I said, feeling an unfamiliar warmth towards her. "It's time we move beyond our differences. We're not children anymore."

"Thank you, Emily," she said. "I simply had no one else to turn to. I suppose that ought not surprise me. After all, what lady of my rank would associate with persons who investigate crimes? That I know even one is astonishing. Two, if we count your charming husband."

She winked at him.

I pressed my lips together hard. "Emma, we need to know exactly what happened the night of your father-in-law's death." Exchanging social niceties with Emma was far less pleasant than thinking about murder.

"I had no idea anything out of the ordinary had occurred until the following morning," she said. "I'd seen Signor Barozzi before I retired to my room and he was in perfect health. The next morning, our steward informed us that he was dead. I know you'd much prefer it if I could give you some sort of juicy clue as to what happened, but I can't. I do hope having the murder weapon helps."

I took the slim dagger back into my hands. Its blade was eight inches long, and precious stones — diamonds, emeralds, rubies, and sapphires — encrusted its hilt.

"It belonged to my husband's mother," Emma said. "She kept it next to her bed."

"For protection, or just because she liked the way it looked?" I asked.

"Protection. It's an old family habit," Emma said. "You know how these Italians can be. Very passionate and very dramatic. Not at all like we English. It's quite alarming."

"Was anything else in her room disturbed?" I asked.

"I can't really say." Emma clasped her hands and looked down. "My father- in-law hasn't let anyone into her room since she died more than a dozen years ago."

"No one was allowed in the room?" Colin asked. "Not even servants to keep it clean?"

"No," Emma said. "He couldn't bear to have anyone touch her things. He dusted them himself and even went so far as to wash the floors."

"Have you gone into her room since the night he died?" I asked.

"I did, just to see it," Emma said. "Perhaps it sounds callous after having lost a family member, but I admit I was curious."

"If no one has been in the room for so many years, how can you be certain the knife came from there?" Colin asked.

"Paolo — my husband — recognized it."

"May we see the room?" I asked.

"If you wish," Emma said, "but you won't find anything of interest."

We followed her into an ornately decorated room where the frescoes on the ceiling were in slightly better condition than those I'd seen in the rest of the house. The furniture, some of which could have been original to the palazzo, was fashioned from heavy, dark wood. The bed was enormous, with a canopy high above it and long velvet drapes pulled to enclose it on three sides. Through the fourth side, where the curtain had been drawn, we could see the bedclothes of fine linen, still rumpled as if the bed's occupant were in the next room taking breakfast. There was still a slight depression on the pillow where Signora Barozzi's head had rested on the night of her death. My skin prickled at the sight.

A quick search of the room yielded nothing of interest to our current case. Colin checked each of the windows and then asked Emma to show us where her father-in-law's body had been found.

"It was here." She had taken us back to the portego and pointed to a spot on the floor. "We believe his assailant entered the room through the window just above."

"Is it generally kept open at night?" I asked.

"No, but it was open when the servants found him. It had been shut the night before."

"It's possible the conte opened it himself," I said, pulling a notebook out of my reticule and starting to scribble in it. "Of course, that doesn't preclude the possibility someone else did."

Colin peered out the window. "It's a long way down," he said. "Someone climbing up from canal level surely would have been noticed, either by neighbors or boaters."

"The police looked into that," Emma said. "No one came forward to say they'd seen anything unusual, and it would be impossible to know who had been passing by at just the right moment. A hopeless business, really."

"You said in your wire there was a ring found with the body," I said.

"Yes." She pointed to a table on which sat a heavy gold band with a deep red corundum ruby set high in its center. "He was clutching it in his hand."

I took it from her. "It's medieval," I said. "Probably fourteenth or fifteenth century." I moved closer to the window, where the light was brighter, to read the inscription on the band.

Amor vincit omnia

"Love conquers all," I said. "A common phrase on poesy rings of the period. Is it a family piece?"

"No," Emma said. "I'm afraid there's not much family jewelry left. The house is expensive to run, and old fortunes ... well, they don't often last. We don't know where it came from. Paolo didn't recognize it."

"Was anything tampered with in the rest of the house?" Colin asked.

"Nothing was taken," Emma said. "Nothing was disturbed. We all slept through without so much as noticing." Blotchy red streaks colored her face, and I felt a surge of compassion for her.

"Don't blame yourself," I said. "Whoever did this was careful not to wake any of you. We will do everything we can to identify the guilty party and bring him to justice."

"And Paolo?" she asked, her voice small. "He'll come back to me once he's exonerated. I know he will. He's innocent, Emily. He would never have raised a hand to harm his father."

"I believe you." I smiled in as reassuring a manner as possible. I hoped she was right. Her husband had disappeared mere hours after a maid had found his father's body. Why had he fled, without so much as a word to his much-adored wife? Would an innocent man have assumed he'd be implicated in the murder? I surveyed the room and shuddered, feeling suddenly cold, as if an oppressive evil were closing in around me. What secrets did this once-beautiful house hold?


Excerpted from Death in the Floating City by Tasha Alexander. Copyright © 2012 Tasha Alexander. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

TASHA ALEXANDER attended the University of Notre Dame, where she signed on as an English major in order to have a legitimate excuse for spending all her time reading. She lived in Amsterdam, London, Wyoming, Vermont, Connecticut, and Tennessee before settling in Chicago.

Tasha Alexander is the author of the Lady Emily novels, a series of historical suspense, including Tears of Pearl and Dangerous to Know. She attended the University of Notre Dame, where she signed on as an English major in order to have a legitimate excuse for spending all her time reading. She and her husband, novelist Andrew Grant, divide their time between Chicago and the UK.

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Death in the Floating City: A Lady Emily Mystery 4.2 out of 5 based on 1 ratings. 19 reviews.
Aelius More than 1 year ago
A splendid story with interesting characters and an exciting background. I enjoyed every moment of it and can't understand why some reviewers say they stopped reading halfway through. The book is every bit as good as it promises to be.
Anonymous 4 months ago
EmilyAnne More than 1 year ago
This one lost be a bit, I actually stopped reading it part way through because I lost interest. Which was really disappointing because  I LOVED the ones before it. I just felt that it became too busy and that the main story line was lost. 
Anonymous More than 1 year ago
Anonymous More than 1 year ago
I started with the first of the Lady Emily series, and continued reading until I finished this the seventh of the series. I love the characters, the locations in different cities, and the mysteries. I especjally enjoyed the two timeperiods in this book, the late 19th. century in which the characters live, and the 15th century love story, complete with a family feud right out of Romeo and Juliet.
Anonymous More than 1 year ago
Great series!
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romeo_alpha More than 1 year ago
Another wonderful Lady Emily mystery. Tasha Alexander is a great story teller. Colorful characters and murder in Venice. I look forward to the next adventure.
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EnoMary More than 1 year ago
Highly Recommended. Along with Behind the Shattered Glass, my favorite of the series. This was really well done. I loved the parallel story of Besina & Nicola. This series reminds me of the Amelia Peabody books by Elizabeth Peters. Fun and engaging.
Anonymous More than 1 year ago
For those who prefer the period but right now am more in the jazz age myself but makes a change however cant seem to get interlibrary loan on most series except for the latest and would like to read the venice one mom
CMKmom More than 1 year ago
This book happens in Venice - many twists and turns - the people weren't particularly interesting - pretty formulaic story. I really didn't care about the characters, which you need to do in a well written book. In the end the good guys win and the bad guys don't. You may wish to miss this one.
Anonymous More than 1 year ago
The Lady Emily series is one of my favorites and this latest does not disappoint. Looking foward to the next!