With Didon, Piccinni demonstrated his ability to combine both Italian and French styles to create a compelling tragédie lyrique. The opera includes lyrical Italian melodies and a second-act finale, as well as French choruses and numbers that transition continuously without pauses. Didon was premiered at Fountainebleau on 16 October 1783, and it remained one of Piccinni’s most popular French operas, with performances through the first part of the nineteenth century. The story of Dido had been realized on the operatic stage before Piccinni’s setting, including Cavalli’s Didone (1641), Purcell’s Dido and Aeneas (c. 1689), and Vinci’s Didone abbandonata (1726) with a libretto by Metastasio.

This map shows North America including present-day Canada, United States, and parts of Mexico. Some regions are outlined in color. Some cities, Native American tribes, bodies of water, and geographic features are marked (with relief shown pictorially). Prime meridians: Paris and l’Isle de Fer.

This map shows North and Central America and the surrounding areas. Several countries are outlined in color. Some cities, bodies of water, and geographic features are marked (with relief shown by hachures). Prime meridian: Paris.

Maps show "Route de Chihuahua à Santa Fe", "Route de Durango à Chihuahua", and "Route de Mexico à Durango." this sheet appeared in the author's Physical Geographical Atlas of the Kingdom of New Spain. Relief shown by hachures and spot heights. Scale [ca. 1:2,150,000], [ca. 1:2,200,000], and [ca. 1:2,300,000].

Map shows cities, areas of Native American habiatation, mid-continent as "Haute Louisiane ou Territ. du Missouri," upper Mexico, Michigan extending well west of Lake Michigan. Relief shown pictorially.Scale [ca. 1:11,000,000].

Map shows major cities, political divisions, areas of Native American habitation, minimal detail for western portion of North America; western portion of Africa and southwestern Europe as far east as Italy. Inset: "Supplément á la partie nord ouest de l'Amérique, d'aprés les découvertes du Capitaine Cook." [Supplement to the northwestern part of America, after the discoveries of Captain Cook]. Includes notes. Relief shown pictorially. Scale not given.

Map shows early nineteenth century towns, political divisions, areas of Native American habitation, major cities and and mining activity in Mexico and neighboring countries. Relief shown by hachures. Scale [ca. 1:8,000,000].

Map shows early nineteenth century towns, political divisions, areas of Native American habitation, major cities and and mining activity in Mexico and neighboring countries. Relief shown by hachures. Scale [ca. 1:8,000,000].

Piano part for Beethoven's violin sonatas in Op. 12, numbers 1 through 3. The imprint date comes from page 28 of the Kinsky catalog, showing this edition was printed during Beethoven's lifetime.

Map shows major cities, political divisions, and areas of Native American habitation; European possessions in North America and the West Indies. Includes geographical information given in panels of text on left and right sides: De L'Amerique en générale. Relief shown by hachures. Scale not given.

Map shows early nineteenth century political boundaries marking areas of North America claimed by the United States and European countries. No scale noted.

Map shows early nineteenth century shoreline geography and details near the harbor of Veracruz, Mexico. Relief shown by hachures. Depths shown by soundings. No scale noted.

Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements.

Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements.

Sonate pour le pianoforte à quatre mains, op. 6, in D major, published during Beethoven's lifetime. The name of Ludwig Dreyer is written inside the front cover, dated 1936.

Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

Letter from Elizabeth Ann Upshur Teackle to her father, Littleton Dennis Teackle, written in French from her boarding school in Philadelphia.

Musical score for voice and piano or harp written in Paris in November 1818. Cover has black and white lithograph depicting a man standing with a shovel.