Correspondence between Governor Melchor Vidal de Lorca y Villena and Santiago de Jesús Sánchez concerning "bulles" needed for the townspeople.

Envelope addressed to Florencio Andrés with numerous smaller slips of paper containing various dates and information written on them.

Document describing five criminals that have gone missing from Laredo; numbered 1 through 5, each criminal gets its own physical description.

Message from Joseph Morales Ruiz asking for the necessary permission to move cattle around from one place to another.

Message from the Viceroy saying that ecclesiastical authorities should not get involved in temporal affairs that are of the Crown's concern.

Decree from the Viceroy citing a previous decree of March 16, 1789 saying that Intendents report to the Audiencia not the Juntas Superiores de Real Hacienda.

Six documents from Manuel Muñoz including decrees and directions from the Intendent of San Luís Potosí. Included are an announcement of his appointment as governor; demands for a six-month account on state of water supply, and crops; a request for monthly reports on favorable or adverse activities, and information on Justicias Mayores; a document concerning the use of titles; and a document investigating complaints against Subdelgado.

Decrees from Viceroy Manuel Antonio Flores Maldonado citing several previous royal decrees dating back to 1767. This decree discusses the decree from February 8, 1789 providing for free commerce for various American ports, as well as rules for military men wanting to get married.

Orders from the Justicia Mayor of Laredo, Miguel Ponce Borrego, to build a jail within the town of Laredo.

Decree from Viceroy Manuel Antonio Flores Maldonado citing a decree from June 27, 1788 allowing ex-Jesuits to have the money from chaplaincies or other benefits which came to them from family connections. The document itself is badly stained along its left and right side.

Printed decree from Viceroy Manuel Antonio Flores concerning the use of titles. The document has a large tear in the middle of the right side of the sheet, covered with pieces of tape.

Last will and testament prepared for José Antonio Uribe, laying out inheritors and what they are to receive. The document itself is stained and has slight tears on the sides of the paper.

Affidavit from Miguel Ponce Borrego discussing irregularities among some military people in in Laredo. The document has a piece of tape on the right side of the paper protecting large tears on that side.

Decree from Viceroy Manuel Antonio Flores Maldonado outlining distinctions between military and political privileges, especially the use of "mourning armband."

Printed decree from Viceroy Maldonado concerning the death of King Carlos III.

Printed decree from Viceroy Maldonado citing a previous royal decree from August 8, 1788 stating who has the right to the title "Excellency." The document itself has tears along the edges and a small piece of tape stuck to the right side.

Handwritten transcription of a decree from Manuel Antonio Flores Maldonado concerning the death of King Carlos III.

Census for Villa San Augustín de Laredo with a list of all Spanish inhabitants of the town. The chart is broken down into columns with the individual's name written on the left and numbers in corresponding columns depending on their circumstances.

Folding fan. Sticks and guards of plain, unadorned wood. Paper leaf colored lithographed with line of musical score and lyrics across top, French text, and figural scene. Titled “Allégorie sur les États Généraux”.

Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber.

Paisiello’s Il barbiere di Siviglia was based on the first play, Le barbier de Séville, ou La precaution inutile (1772), of Beaumarchais’s famous trilogy. The controversial commentary on aristocracy caused the play to be banned from the stage for three years. The ban was lifted in 1775 and the work premiered that same year; Beaumarchais finally saw the work performed in 1780 when he was employed by Catherine II in St. Petersburg. Although Rossini’s later opera (of 1816) is more familiar today, Paisiello’s rendition was extremely popular throughout Europe during its time. The work was first performed in St. Petersburg in September of 1782.

Portrait of Daniel Boardman, posing next to a tree out-of-doors. He is wearing a light-colored suit with a dark-colored coat and is holding a hat and cane in his hands. A river and city are visible in the background.

Painting depicting wife and daughter of the Architect Pierre Rousseau.

1789 edition of Musikalischer Almanach für Deutschland.