A 1687 treatise on playing the viol. The inside of the front cover contains a book plate identifying the item as having belonged to the violin maker. Arthur F. Hill, F.S.A.

Map of the coastline along the western part of the Gulf of Mexico, starting in the south (left) at a point labeled "La Desconoscida" and ending in the north (right) at "C[iudad] Escondido." Segments of the coastline are shaded in red, yellow, and green, with labels for river mouths, ports, islands, and other points along the coast.

A note at the bottom of the final page reads, "In the Title Page of this Book, instead of Theorbo-Bass, read Thorow-Bass." Although this seems to suggest that chordal accompaniment should be used, bass lines are unfigured and meant for either a plucked or bowed string instrument per the suggestions on the title page. Three-part ritornelli are interspersed throughout this volume. All vocal lines (the top one of each system) use the treble clef. Only the text of the first stanza is underlaid; any subsequent stanzas are printed under the music.

Map shows locations of various Native American tribes and California as an island; New mexico, Florida encompassing southeastern portion North America, New Spain, and Canada or New France; a small portion of eastern "Florida" [Georgia/Carolinas] is termed French Florida. Relief shown pictorially. Scale [ca. 1:11,000,000].

Map shows settlements, ports, political divisions for North and South America; extent of North America to eastern and southern portions; California as an island; islands in the Pacific to New Guinea, east across Atlantic to the coast of Africa. Includes decorative title cartouche showing natives and snakes, decorative cartouche showing the victory of the Cross over the Devil surrounds text on America; image of village and battling tribes in "Brasilia," fauna in North America. Relief shown pictorially. Scale [ca. 1:23,000,000].

Map shows known extent of North America from New Britain and New France to California, Mexico, New Spain, the Gulf of Mexico, and West Indies; areas of Native American habitation and some settlements. Inset: [Map of Japan]. Relief shown pictorially. Scale not given.

Map shows Gulf of Mexico coastline portion of Florida, tip of the Yucatan peninsula, and most of Cuba; fortifications, structures, and points of anchorage on insets. Insets: "Bahia de Matanças int Groodt," "Havana int Groodt," and "Baja Honda int Groodt." Relief shown by hachures. Depths shown by soundings. Scale not given.

Map shows settlements, areas of Native American habitation, and coastal points along "Isle de Californie" and "Mer de Califronie" and inland to the Rio del Norte beyond Santa Fe. Includes "Avertissement," list of provinces and notable towns, text, and decorative cartouche. Relief shown pictorially. Scale [ca. 1:454,000].

Map shows world continents and oceans, with vague boundaries for parts of Australian coast, Antarctica, and Pacific coast of North America. Scale not given.

Map shows cities, towns, and geographical outline of Mexico, the West Indies, and Florida as known during the late seventeenth century. Inset: "Het canael tusschen Havana aen cuba en de Tortugas en Martyres aen Cabo de la Florida in groot besteck" [The channel between Havana in Cuba and the Tortugas and Martyres]. Scale [ca. 1:1,267,000].

Map shows South American political boundaries, ports, coastline detail, inland settlements, areas of Native American habitation. Includes notes. Relief shown pictorially. Scale [ca. 1:16,000,000].

Map shows geography, political boundaries, and major cities of late seventeenth century New Spain [Mexico]. Relief shown pictorially. Scale not given. Map appeared in Description de l'univers, contenant les différents systèmes du monde [Description of the universe, containing the various systems of the world] by A. M. Mallet.

Map shows coast line of Florida and along the Gulf of Mexico, islands in the Caribbean region, both coasts of Central America, and the northern coast of South America. Includes legend. Scale [ca. 1:6,500,000]

Total front center of the sculpture of Milo of Cortona Devoured by a Lion, from the Baroque Period.

Overall view of Garden Wing of Le Grand Trianon, built in the Neoclassical Revival Period.

The carpet is composed of gold and blue colors. At either end are women holding musical instruments.

Libretto of the 1684 opera "Amadis," by Philippe Quinolt. The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of "Amadis" at the Opéra in Paris on 18 January 1684. It was an immediate public success. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.

Libretto of the ballet "Le triomphe de l'amour" written by Philippe Quinault in collaboration with Isaac de Benserade. It is divided in two parts. The first, contais the prologue and the ballet entrances (i.e., entrées); the second part contains flattering comments and instructions directed to the noble people participating in the ballet. Each of the entrées that comprise "Le Triomphe de l'Amour" reveal aspects of love triumphant. The theater represents a magnificently ornate place where a crowd receives Amour (i.e., the god Love), the son of Venus. The latter presides over the crowd and sings of the virtues of the king who has restored peace to his kingdom. Venus entreats everyone to pay homage to her victorious son. The first performance took place at Saint-Germain-en-Laye on January 21, 1681. The twenty entrées of this 'ballet de cour' (i.e., court ballet) were choreographed by Pierre Beauchamp with music by Jean-Baptiste Lully. Carlo Vigarani designed the stage décor and Jean Berain provided designs for costumes and decorations of this royal festivity. This copy includes a frontispiece engraving that depicts a stage setting by Daniel Marot.

Libretto of the opera "Phaeton," by Philippe Quinolt. The plot is based on an episode in Ovid's Metamorphoses. In the plot, Phaethon, son of Climène and Soleil [the Sun], is filled with excessive ambition and pride. He abandons his beloved, Théone, and requests to the King of Egypt the hand of his daughter Libie. Climène, who after consulting the sea god Proteus knows of the demise that her son's avarice will bring upon himself, tries in vain to discourage his ambition for the throne of Egypt and urges him to renew his love for Theona. However, Phaeton goaded by the taunts of his rival, Epaphus, rides recklessly across the sky in his father's chariot. The spectacular ending includes Jupiter's thunderbolts aimed at stopping Phaethon's wild ride, and Phaethon crashing onto earth where he dies. An ensemble and chorus provide a sorrowful denouement. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. It also includes an engraved frontispiece titled, "Le …

Libretto of the opera "Proserpine," by Philippe Quinolt; the plot is based on the story of the abduction of Proserpine and her descent into Hades, and also on Ovid's Metamorphoses, its original source. In the plot, Cerés, the goddess of the earth, summons the nymph Aréthuse to guard her daughter Proserpine. Aréthuse protests, and tells Cerés of her love for Alphée, the river god, but the anxious mother warns her she should not let her own feelings interfere with the assigned task. Alphée assumes that Aréthuse abandoned him to look after Proserpine. Taking advantage of the situation, Ascalaphe, Pluto's envoy, encourages Alphée's belief in Aréthuse's supposed infidelity; then, persuades both Alphée and Aréthuse into letting Pluto watch over Proserpine. Alphée and Aréthuse agree and as the lovers' attention wanders, Pluto seizes Proserpine and abducts her. Cerés learns of her daughter's abduction and in despair decides to withhold her gifts that give earth prosperity. When Alphée and Aréthuse finally reach Proserpine, they find that she has already eaten of the grain and tasted the fruit of the underworld, which condemned her to Pluto's control. Proserpine begs Pluto for mercy, but the love-stricken god refuses to free her. Pluto summons his judges …

Libretto of the opera "Roland" by Philippe Quinault; he based the plot of Roland on medieval legends of chivalry, setting episodes from Ludovico Ariosto's epic poem "Orlando furioso." Roland centers on the conflict between duty and love and the intervention of goddesses. This copy includes includes handwritten annotations of performers' names, and a frontispiece engraving undersigned by Jean Dolivar (i.e., Juan Dolivar) that illustrates one of the scenes from the opera. Jean-Baptiste Lully composed the music of the opera which premiered on January 8, 1685.

Libretto of the opera "Thetis et Pelée" by Bernard le Bovier de Fontenelle. In the plot, the Nereid Thetis is wooed by Jupiter and Neptune, as well as by a mortal, Pelée (Peleus). When a storm caused by Neptune disrupts a celebration Jupiter gave in honor of Thetis, an oracle is consulted, which foretells that Thetis's husband will one day be less powerful than his son. Neptune and Jupiter withdraw their claims, and Thetis marries Pelée. Pascal Collasse composed the music of the opera which premiered at the Paris Opéra on January 11, 1689. This copy includes an engraved frontispiece titled, "Thetis et Pelée" by Juan Dolivar (undersigned as J. Dolivart).

This is a digital reproduction of the 1688 libretto of the opera "Zephire et Flore" by Michel Du Boullay. The music of the opera is attributed to Louis and Jean-Louis Lully, sons of Jean-Baptiste Lully. It was performed for the first time on March 22, 1688 at the Palais Royale in Paris.

This is a 1689 copy of Girolamo Gigli's three-act libretto for the opera "La Fede ne' tradimenti," set to music by Giuseppe Fabbrini for the 1689 Carnival season at the Collegio Tolomei in Siena, Italy.