Relief shown pictorially. Prime meridian: Ferro. Inset: Supplement of the environs of Mexico. "Vol. 2."

Aynsley bone china est. 1775 1 coffee cup large pink flower with smaller blue and purple flower on one side, other side has a pink flower with a blue flower the same size

Aynsley bone china c. 1775 1 saucer large pink flower with smaller blue and purple flower on one side, other side has a pink flower with a blue flower the same size

According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."

La colonie is Nicolas Etienne Framery’s French parody of Sacchini’s Italian L’isola d’amore, which was premiered during the 1766 Roman carnival. However, Framery chose music in a pastiche-like fashion from various Sacchini operas, without actually using any arias from L’isola d’amore. Although the operas that Sacchini specifically composed for Paris faced resistance from opponents of foreign composers, La colonie received praise from critics. The 1775 French premiere at the Comédie-Italienne was quite successful; the work even drew comparisons with Pergolesi’s wildly popular La serva padrona.

In 1597, while Morley was negotiating for the patent, he wrote his musical treatise, A Plaine and Easie Introduction to Practicall Musicke. Although his preface contains the statement that he had “nothing better to do,” Morley probably knew publishing a treatise on the science of music would boost public interest in purchasing musical works. In addition, by publishing such a work, the English audience would view Morley as an authority in music (and he would become more likely to obtain the patent) (Smith, “Print Culture and the Elizabethan Composer,” 163). The work is practical, and is organized into three sections: teaching to sing simple song, teaching to sing two parts over a plainsong or ground, and teaching counterpoint.

After the resounding success of Iphigénie en Tauride (1779), Gluck set out to compose his last of the seven Paris operas, which turned out to be his final opera. Whereas Iphigénie en Tauride is often considered Gluck’s best opera, its immediate successor, Echo et Narcisse (1779) was ill-fated and quickly disappeared from the repertoire. Echo was premiered a mere four months after Tauride, and the Parisian audience was not prepared for the differences between these two operas. Although the music resembles that of his other French operas, the pastoral story lacks the dramatic intensity that viewers expected in a Gluck opera. Thus, the serene music—though it is at times quite beautiful— lacks dramatic impulse.

This map shows the western hemisphere on a projection. The entire map is round with the upper and lower halves formed by inter-connected partial circles. North and Central America (and the northern part of South America) are shown in the top half, and South America is shown in the bottom half. Island chains are shown in left and right wedges. The portion on the left is labeled "Bahama or Lucayos Islands" and the one on the right is labeled "Antilles Leeward or Caribbee I.

This is a 1773 printed copy of the libretto of "Le tableau parlant" (The talking picture), a one-act comic opera by M. Anseaume, set to music by Grétry. The opera was staged for the first time by the troupe of Italian actors of King Louis XV, on Wednesday, September 20, 1769. The back of the t.p. lists the names of the original actors who performed the characters of the opera at its premier: Isabelle (Madame Trial), [Jean-Louis Laruette] (Cassandre, Isabelle's tutor), [Madame Laruette (Colombine, Isabelle's lady-in-waiting), M. Trial (Léandre, Cassandra's nephew, who is in love with Isabelle), and [[Jean-Baptiste Clairval] (Léandre's valet). The final scene is a vaudeville sung by all of the characters. The music of the vaudeville is included at the end on pp. [45-48]. The library's copy of the libretto is bound with the libretto of Jean François Marmontel's comic opera "La fausse magie."

This is a ca. 1778 libretto for the burlesque opera in three acts "Momie" by a Jean Étiennethat Despréaux. The opera is a parody based on Leblanc du Roullet's libretto of "Iphigénie en Aulide," an opera by Christoph Willibald Gluck. The libretto includes the titles of the tunes at the opening of each scene. Page 6 of the library's copy is incorrectly numbered as page 9.

This is a ca. 1774 score of the opera "Alceste" by Anton Schweitzer based on a libretto by Christoph Wieland. The work premiered in Weimar in 1773. The plot was based on the Greek legend of Alcestis, on the subject of female virtue and conjugal love. The library's copy contains an engraved illustration that portrays a domestic scene. The score does not indicate the musical instruments and the music, which is notated in two, three or four staves, contains the German text underlaid with indication of the character who sings.

This is a ca. [1775] printed copy of the libretto of "La fausse magie" (The false magic), a two-act comic opera by Jean François Marmontel, set to music by Grétry. [The opera was staged for the first time at the Théâtre Français à La Haye, on Thursday, November 30, 1775.] The final scene of act two contains the music of the couplets on pp. 47-48. The library's copy of the libretto is bound with the libretto of M. Anseaume's comic opera, "Le tableau parlant."

Course of the Mississippi River from the Balise to Fort Chartres based on surveys made by the French. Surrounding geographic features are noted with relief shown pictorially.

Map of the Caribbean area in 1774, including some portions of Central America. Some towns and roads are noted as well as depths and other geographic features, with relief shown pictorially.

This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10.

Copy of the second of three volumes of "Storia della musica" (Music History) containing nine chapters and three dissertations that talk about music in relation to ancient Greece, such as Greek mythological figures and festivals, Greek theories of music, and unique features of ancient Greek music.

Photocopied map shows the provinces in Mexico, vague boundary lines, and "Pays inconnu" [unknown country], between New Spain and [French] "Louisiane". Florida boundary not shown. Relief shown pictorially. Scale [ca. 1:6,758,400].

Map shows paths and military outposts in "Cherokee Country," perhaps in the Carolinas, during the late eighteenth century. Includes notes. Relief shown pictorially. Scale [1:633,600].

Poetic marriage announcement announcing the marriage of Ludwig Huth to Dorothea Breithauptin on August 18, 1778. Written by J. H. Rehberger.

Map shows boundaries, rivers, and principal settlements divided into the Twelve Tribes areas. Includes illustrative title cartouche. Relief shown pictorially. Scale [ca. 1:1,250,000].

Map shows provinces in Mexico, [vague] boundary line and note, "Pays inconnu" [unknown country], between New Spain and [French] "Louisiane." Florida boundary not shown. Relief shown pictorially. Scale [ca. 1:9,500,000].

Map shows late eighteenth century boundaries, regions, and cities of Russian Siberia and Tartarie, Grand Tartarie, Persia, and parts of China and India. Includes text in two panels flanking left and right of map. Scale not given.

Map appeared in William Robertson's The History of America, 6th ed., London, by W. Strahan and T. Cadell, 1752. Relief shown pictorially. Scale [ca. 1:5,238,095].

Map shows provinces of New Spain, [Baja] California, "New Albion." Includes notes. New Mexico and Louisiana are shown separated by "Great Space of Land unknown." Areas of Native American habitation are noted. Inset: "Supplement of the environs of Mexico." Relief shown pictorially. Scale [ca. 1:10,200,000].