Map shows major cities along the coasts of North America, Central America, and the Antilles. Native American habitation in some areas of North America are also noted. Hand colored. Scale [ca. 1:37,500,000]. Map comes from Atlas de toutes les parties connues du globe terrestre [Atlas of all known parts of the globe] published in 1780.

Map shows major French, English and Spanish settlements on the North American continent, Central America, and the islands of the Caribean. Scale [ca. 1:34,500,000]. Map comes from Atlas de toutes les parties connues du globe terrestre [Atlas of all known parts of the globe] by Guillaume Raynal.

Map shows North America, South America, and part of Oceania in the western hemisphere and Europe, Asia, Africa, and the remainder of Oceania in the eastern hemisphere. Map is from the author's Atlas de Toutes les Parties Connues du Globe Terrestre [Atlas of All Known Parts of the Globe]. Scale [ca. 1:100,000,000].

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

Map shows late eighteenth century geography, towns, and forts in late eighteenth century Mexico. Notes about Native American tribes are also present. The route taken by Monsieur de Pagès while traveling through "Province de los Texas" on a journey from New Orleans to Acapulco is, also, marked. Relief shown pictorially. No scale noted.

Map shows basic geographical features and major settlements in late eighteenth century North America. Relief shown pictorially. Scale [ca. 1:10,000,000].

Map shows areas of Creek and Cherokee tribal locations, military outposts, cities and towns in Georgia, North Carolina, and South Carolina. Relief shown pictorially. Scale [ca. 1:4,250,000].

Map shows the upper part of India below the Ganges between the coast of Concan and that of Orissa, with the Mogul Empire, and Bengal. Relief shown pictorially. Inset: "Bouches du Ganges." Scale [ca. 1:10,000,000].

Map shows West Indies, coasts of Southern States, Mexico, Central America, and the northern part of South America. Relief shown by hachures. Scale [ca. 1:2,500,000].

Map shows inland settlements of coastal lands of the North, Central, and South Americas along the Gulf of Mexico; Gulf and Pacific coasts of New Spain; islands and ship channels of the Caribbean and Atlantic areas including the West Indies and Bermuda. Includes text and color key to European possessions; key to rivers in the Gulf of Panama. Relief shown pictorially. Depths shown by soundings. Scale not given.

Map shows settlements, boundaries of American colonies and portions of Lower Canada to the Gulf of the St. Lawrence River. Relief shown by hachures. Depths shown by soundings. Scale [ca. 1:1,700,000].

Folding fan. Sticks and guards of plain, unadorned wood. Paper leaf lithographed with French text and clerical scene of nuns and monks. Titled “Le Déménagenent du Clergé”.

Map shows the late eighteenth century geography, cities, and towns in New Spain [Mexico]. Relief shown pictorially. Scale [ca. 1:10,500,000]. Map comes from "Atlas de toutes les parties connues du globe terrestre" [Atlas of all known parts of the globe] by Guillaume Thomas Francois Raynal.

Map shows late eighteenth century geography and settlements in northern Mexico. Relief shown pictorially. Scale [ca. 1:10,500,000].

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

Map shows settlements and routes of Captains Cook and Clarke along coastlines of northeastern Asia and northwestern North America; route of Spanish galleons between Manilla and Acapulco. Relief shown pictorially. Scale not given.

The contrast between Piccinni and Gluck can perhaps best be illustrated with Iphigénie en Tauride, as Piccinni’s opera appeared just two years after Gluck’s work on the same subject. In fact, supporters of Piccinni (“Piccinnistes”) hoped that the Italian composer would demonstrate the superiority of his style with Iphigénie, and scholars have used these settings to illustrate the difference between the two composers.

During his early career, Champein was known for church music composed while he worked as music master at the collegiate church in Pignon (in the southern Provence region of France). He moved to Paris and established himself as an operatic composer; La mélomanie (1781) is one of his most famous operas, and it remained in the repertoire at the Opéra-Comique until 1829. La mélomanie actually mocks the debate between French and Italian styles of music, with Fugantini as an Italian who is rejected by the French Elise. References to harmony (a French feature) and melody (emphasized by advocates of Italian music) abound in the opera.

Map shows cities, major roads, swamps, and areas of Native American habitation inland and along the coasts of Louisiana, Florida, Georgia, and South Carolina; the Bahama Islands. Relief shown pictorially. Scale [ca. 1:3,500,000].

This map shows Mexico and surrounding areas including portions of present-day, southern United States. Cities, forts, missions, and other settlements are marked with different symbols (a key titled "Remarques" is in the lower right corner). Additionally, bodies of water and geographic features are marked (with relief shown pictorially) as well as various Mexican states and regions.

A comparison of the scores for Colinette à la cour and Barbe-bleue illustrates the primary distinguishing factor between the genres of comédie lyrique and opera comique: the method of dialogue delivery. In Paris, the issue of genre was tied to the performance venue of a particular opera, due to government regulations. Although comic opera was traditionally presented with spoken dialogue, as in opera comique, when Grétry composed for the Opéra, where recitative was expected, he merged comic subject matter with the sung dialogue heard in serious opera.

Full score for Giovanni Paisiello's L'infante de Zamora.

Map shows the eastern and western hemipheres of the globe with six continents and major cities; Australia as "Nouvelle Hollande" with a vague southern coast hoined with [modern-day] Tasmania; hand-drawn sailing route [presumably that of Captain James Cook] is also shown. Relief shown pictorially. Scale [ca. 1:80 000 000].

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.