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.

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].

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.

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.

The front and back covers of a Methodist catechism. The back cover (page 60) appears to be part of an index to the rest of the book.

Map shows "intendancies" [of New Spain], cities and towns, mining activity, and military posts, and areas of Native American habitation. Relief shown by hachures. Scale [ca. 1:4,000,000].

Map shows "intendancies" [of New Spain], cities and towns, mining activity, and military posts; northern portions of "Indendancy of S. Louis de Potosi" as savanna; areas of Native American habitation; and much of southern Louisiana [under French rule]. Includes legend. Relief shown by hachures. Scale [ca. 1:4,000,000].

Copy of transcript for a list of schedule payments on shares of a company, around 1811.

Copy of transcript for a Ducels advertisement giving notice of a land claim to New Digings and informing readers that trespassers will face legal recourse.

Copy of transcripts for letters sent between Moses Austin and James Bryan concerning the sale of Moses Austin's saw mill.

Copy of transcript for an invoice for barrels of coffee sold for Henry Austin, on February 11, 1811, as well as the charges for the transportation of the barrels.

Copy of transcript for a permit to sell merchandise in Louisiana Territory issued by Sheriff Henry Dodge to Moses Austin.

Copy of transcript for a letter from Stephen F. Austin to James Bryan concerning the distribution and sale of lead shot.

Letter from Santiago Vedia to José Ramón Díaz de Bustamente advising him that the man sent to get the horses stolen by Bartolomé Salinas has found them. The document is badly stained and is covered by pieces of tape along its edges, as well as large tears.

Message from a military commander to Manuel de Iturbe explaining why he could not send troops to protect Texas; the commander also details information about the insurrection taking place. The document is badly stained and has pieces of tape covering all four edges of the paper.

Copy of transcript for a permit issued by J. W. Thompson for Sheriff A. M. Nair granting Moses Austin the right to vend merchandise in Louisiana Territory.

Last will and testament for José María Elizordo outlining what is to be received by his inheritors. The document has a few large stains at the bottom of the pages, and has slightly frayed edges.

Copy of transcript of an agreement, on May 10, 1811, to refund Moses Austin the money he put into a trial after it has been won.

Summary of all decrees regarding the insurrection, originally told by Felix Calleja, and copied down in Monclova by José Ramón Díaz de Bustamente. The document has multiple large stains and has pieces of tape on both the left and right sides.

Copy of transcript for a receipt for Moses Austin from B. of Bryan and Morrison, Ste. Genevieve Store.

Copy of a transcript of a receipt of property received by Elisha Lewis from Moses Austin and Co. to be shipped from New Orleans to Isaac Tomlinson and Co. in New York.

Copy of transcript for a letter from William Bates to James Perry, on May 27, 1811, asking him to deliver lead to a waggoner on behalf of James Bryan. A note from Stephen F. Austin at the bottom records the receipt of the lead on June 1, 1811.