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.

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]

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 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].

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 …

With Proserpine, composer Jean-Baptiste Lully returned to his collaboration with librettist Philippe Quinault, which had been interrupted when the poet was banned from Court for offending Madame de Montespan (the king's mistress) with unflattering references in Isis. By 1679, Quinault had been restored to favor. Proserpine was first performed at St. Germain-en-Laye in February of 1680. Though seventeenth-century audiences were familiar with the story of Proserpine being carried off into Hades from numerous ballets and stage plays, Quinault returned to the source in Ovid's Metamorphoses to embellish the plot. In addition to details drawn from Ovid, Quinault added some of his own, making Proserpine among the most convoluted of Lully's operas. While the prologue alludes to King Louis XIV in the guise of Jupiter, the play itself refers specifically to the king's recent victories over the Spanish and Dutch when Jupiter battles and defeats the giants. Robert Isherwood notes that Jupiter's trip to Phrygia may represent Louis' inspection of Flanders after its defeat in 1679.

A single volume containing two libretti for which the music (not present) was composed by Jean-Baptiste Lully. This small publication was sold as an aid to viewers of the works, so that they could follow along with the libretti during the performance.