Map shows six continents and political boundaries. Shows Australia as "N[ouvel]le Holland," and [French] "Louisiane" [territory in North America]. Includes five hemispheric circles explaining gridlines on map. Prime meridian: Paris. Scale not given.

Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on May 14, 1799, discussing the claim of the Austins to mine for minerals at Mine a Breton in Sainte Genevieve, Missouri. He attempts to solve the issue of who should receive the money from the mine.

Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on July 28, 1799, assuring Austin that he has his best interests in mind, and discussing an upcoming land survey and his opinions about it.

Copy of transcript for a letter from Girouard, in 1799, noting the receipt of a shipment of lead to be used to pay Mr. Hostin, in exchange for beef.

Domenico Cimarosa’s Il matrimonio segreto premiered at the Burgtheater in Vienna on 7 February 1792, just two months after Mozart’s death. It received immediate accolades, particularly from Emperor Leopold II, and the opera was performed a second time that day for a private audience that included the Holy Roman ruler. Il matrimonio segreto enjoyed a successful run that lasted almost a hundred years, with revised versions appearing in the second half of the nineteenth century; in 1933, the work was performed at the Library of Congress. Although the harmonic language is largely diatonic, Cimarosa’s beautiful melodies and exciting rhythms complement Bertati’s direct text. The opera presents the predicament of the secretly married couple without resorting to stock plot conventions such as characters in disguise, conveying the dramatic naturalness and simplicity promoted by Rousseau. The inventive orchestration, which includes clarinets, was another aspect of the opera that was praised by some (while Schumann appreciated the orchestration, Berlioz was unimpressed).

This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.

This volume includes the piano parts for six piano sonatas and one arietta (for solo piano) and the piano parts to a trio for piano, flute, and 'cello. Incipits are included for all pieces.

This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.

Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.

This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects …

This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.

This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.

This volume contains the piano parts to eight piano sonatas - five accompanied by violin and 'cello, three accompanied by violin - all with incipits.

This volume contains twelves piano sonatas with incipits for each piece.

This volume contains the piano parts for eight piano sonatas (some accompanied either by violin or violin and 'cello) and one adagio. Incipits are present for all pieces.

This volume includes six piano sonatas, three sets of theme and variations, one fantasia, and one capricio [sic] with incipits for all pieces.

This volume includes eight piano sonatas, preceded by pages featuring a portrait of the composer, a letter of dedication from the composers to the consumers of this item, and incipits of all eight sonatas.