Labels and fragments of handwritten text including various notes and tallies.

Copy of transcript of letter from Stephen Austin (Moses Austin's brother) to James Austin inquiring about affairs at the lead mines, and making recommendations about shot production and farming.

Copy of transcript of letter from Stephen Austin (Moses Austin's brother) to James Austin advising him in business matters. Stephen Austin specifically advises James Austin to stockpile provisions, such as: pork, beef, corn and rye. Additionally, he recommends making lead shot to be sold in Richmond during the fall.

Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on July 28, 1799, assuring Austin that he has his best interests in mind, and discussing an upcoming land survey and his opinions about it.

Copy of transcript of letter from Stephen Austin (Moses Austin's brother) to James Austin discussing troubles with business and illness, and encouraging James to do what he can to avoid financial ruin.

Copy of receipt for a slave purchased by Mr. Austin from William Morrison for $361 at Mr. Fenwicks sales.

Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on May 14, 1799, discussing the claim of the Austins to mine for minerals at Mine a Breton in Sainte Genevieve, Missouri. He attempts to solve the issue of who should receive the money from the mine.

Message from Santiago de Jesús Sánchez to José Jesús de la Garza, captain of the militia, informing him of an individual breaking the law. According to the message the man, from Lampasos, is selling liquor and setting up games; de Jesús Sánchez asks whether the law should be enforced. de la Garza responds by saying the liquor should be destroyed and the man, Alexandro Escalera, be thrown in jail.

Copy of transcript for a letter from Stephen Austin (Moses Austin's brother) to James Austin informing James of Charles Austin's departure for Richmond and then the lead mines. Stephen Austin also discusses business matters of the mines.

Official document from Manuel Garza and others to Captain Don Jose de Jesus Garza in which the Conde de Sierra Gorda approves the request by Garza for three pieces of land assigned in the General Visita. Garza is able to gain land for himself, his brother, and his son-in-law, Pablo Martínez.

Request from Maria Alexandra Sánchez to the Governor of Nuevo Santander asking for payment for an animal killed by a neighbor the previous year. The document has two pieces of tape holding it together and a large stain in the bottom left corner.

Map shows detail of the northern coast of Cuba and the atolls and islands to the north and along the Old Bahama Channel. Insets: "Plano del fondeadero que forman los cayos de piedras, mono, monillo, y adyacentes" and "Plano del fondeadero que forman los cayos verde y confites." Relief shown by hachures. Depths shown by soundings. No scale indicated.

Map shows dates and routes of explorers; major cities, political divisions; French Louisiana, Florida still separate from United States; New Britain inclusive of Pacific Northwest; major cities, political divisions for North and South America, West Indies, Pacific islands, and New Zealand. portion of coasts of New Guinea and New Holland [Australia] are incomplete. Includes notes. Relief shown pictorially. Scale [ca. 1:46,000,000].

The painting depicts the Last Supper with yellow streaks of light emanating from Christ's head. The background is dark and the composition mostly yellows and blues.

Correspondence between Santiago de Jesús Sánchez and Manuel de Escandón, Governor of Nuevo Santander. In this correspondence de Jesús Sánchez is asking for a land grant left by a deceased person without an heir.

Map shows six continents and political boundaries. Shows Australia as "N[ouvel]le Holland," and [French] "Louisiane" [territory in North America]. Includes five hemispheric circles explaining gridlines on map. Prime meridian: Paris. Scale not given.

Domenico Cimarosa’s Il matrimonio segreto premiered at the Burgtheater in Vienna on 7 February 1792, just two months after Mozart’s death. It received immediate accolades, particularly from Emperor Leopold II, and the opera was performed a second time that day for a private audience that included the Holy Roman ruler. Il matrimonio segreto enjoyed a successful run that lasted almost a hundred years, with revised versions appearing in the second half of the nineteenth century; in 1933, the work was performed at the Library of Congress. Although the harmonic language is largely diatonic, Cimarosa’s beautiful melodies and exciting rhythms complement Bertati’s direct text. The opera presents the predicament of the secretly married couple without resorting to stock plot conventions such as characters in disguise, conveying the dramatic naturalness and simplicity promoted by Rousseau. The inventive orchestration, which includes clarinets, was another aspect of the opera that was praised by some (while Schumann appreciated the orchestration, Berlioz was unimpressed).

This volume includes six piano sonatas, three sets of theme and variations, one fantasia, and one capricio [sic] with incipits for all pieces.

This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.

This volume includes eight piano sonatas, preceded by pages featuring a portrait of the composer, a letter of dedication from the composers to the consumers of this item, and incipits of all eight sonatas.

This volume includes the piano parts for six piano sonatas and one arietta (for solo piano) and the piano parts to a trio for piano, flute, and 'cello. Incipits are included for all pieces.

Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.

This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.

This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.