Copy of transcript for a settlement between John and Benjamin Coleman and Stephen F. Austin, on October 5, 1811.

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.

Copy of transcript for a certificate from H. Dodge to Moses Austin, on September 8, 1811, noting that Austin has paid his taxes and may continue to sell wares for the next year.

Copy of transcript for a license to sell merchandise for the next six months, issued by Sheriff H. Dodge of St. Genevieve to Moses Austin upon his payment of the tax.

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.

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.

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 "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 letter from Robert McCallister, on November 6, 1811, notifying James Rankin that he must appear in court to settle a dispute between McCallister and John Sloan.

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.

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].

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing acquaintances and family news.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing her health and their daughter, Elizabeth Ann Upshur Teackle's health. She also mentions William Gilmor and says Elizabeth Dennis Teackle is staying with them.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing their finances and purchases, and her attempts to stay frugal. She also mentions the death of Dr. James Lyon, and the weddings of William Wise to Ann C. Wilson, and Tubman Walston to Anne Done.

Letter from Elizabeth Upshur Teackle to her husband, Littleton Dennis Teackle. She discusses their finances and purchases she has made. She talks about their enslaved persons, mentioning her disappointment with Ephraim specifically. She wishes for Littleton to sell him. She also discusses news from their acquaintances and family.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, about returning a pair of earrings purchased by Nancy Jones.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing their finances and purchases she would like for him to make.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing local politics and their finances. She also includes some updates about family members.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, announcing the death of his mother, Elizabeth Dennis Teackle. She also writes of William Burton Savage's death. She asks Littleton to send her certain fabric and clothes for mourning.

Letter from Elizabeth Upshur Teackle to her husband, Littleton D. Teackle, discussing her health and their daughter, Elizabeth Ann Upshur Teackle's health. She mentions Dr. Robert King. She also mentions the death of her uncle Littleton Upshur, who died on August 27, 1811.

Letter from Elizabeth Upshur Teackle to her sister, Ann Upshur Eyre.