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Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

Christian Hoffman, of Cincinnati, Ohio, and Newport, Kentucky, compiled this 201-page book of poetry, largely in the German language, with eight poems in English. Hoffman's selections include poems or poem fragments by Henry Kirke White, Lord Byron, Agnes Franz, Friedrich Rückert, Christian Hoffmann von Hoffmannswaldau, Friedrich von Sallet, August Henrich Hoffmann, and others. Christian Hoffmann apparently included several original spiritual poems, such as "Des Kinder schwingender Geist" (pages 18-24) and "Die Absched des Prindes Gottes" (pages 169-170). Several blackletter script titles, decorative initials, and illustrations are present. The three illustrations include an urn with flowers (page 69), an angel with a harp (page 168), and a vignette of three maidens holding a banner with the words "O laube", "Liebe und" and "Hoffman" (page 76).

Edith A. Moore Frost's commonplace book includes material dating from 1860 to 1893, with signatures, poetry, and comments predominantly written by her classmates and teachers from Ashland High School in Ashland, Massachusetts, and the Massachusetts State Normal School in Framingham, Massachusetts. Acquaintances in Kansas wrote additional entries in the 1880s. Thirty-two photographs of signatories are pasted or tipped into the volume, along with other materials like a fabric swatch with a hair clipping attached, embellished paper, and a pressed leaf.

Edith A. Moore Frost's commonplace book includes material dating from 1860 to 1893, with signatures, poetry, and comments predominantly written by her classmates and teachers from Ashland High School in Ashland, Massachusetts, and the Massachusetts State Normal School in Framingham, Massachusetts. Some entries include notations written in another hand, primarily indicating if someone was a teacher. Acquaintances in Kansas contributed additional entries in the 1880s.

Many persons signing the album added elements to their entries, such as poems, proverbs, comments, and drawings. Twenty-seven photographs of women were pasted into the volume alongside their signatures, with an additional five photographs enclosed in a letter written by Mrs. E. A. Husey to Mrs. F. W. Frost in 1893 (concerning classmates from the State Normal School). The volume includes various other materials tipped or pasted in, such as a fabric swatch with an attached hair clipping, embellished paper, and a pressed leaf.

Edith A. Moore Frost first inscribed the volume on December 25, 1860, indicating this "Forget Me Not Album," which features engraved illustrations of women, may have been given to her as a Christmas gift. She later wrote, beneath a photograph of herself, "Edith A. Frost. Class of 1868. Mass. State Normal School. Framingham Mass. Pictures of graduating Class 1868."

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown includes included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship.

Lydia Brown compiled this notebook of copied poems, principally religious and moral in nature, sometime in the early nineteenth century. She often drew calligraphic titles and other embellishments, including borders, flowers, and leaves. Several times throughout the volume, Lydia Brown included "A E 12" after her name, possibly an abbreviation for the Latin phrase "aetatis," indicating she may have been 12 at the time of writing and the volume could have served as an educational exercise for learning penmanship. A test sheet at the end of the volume includes several practice penmanship elements, and pencil lines throughout indicate how Lydia Brown was keeping her writing straight.

• To Hope
• A Paraphrase of the Lord's Prayer
• Charity
• Safety in Christ
• Say Why!
• Childhood
• Life
• Content
• Faith
• Hope
• Charity
• Humility
• Friendship
• Fortitude
• Modesty
• Patience
• Inscription on a Clock
• Friendship
• Sunset and Sunrise
• Reputation
• A Request
• Hope
• The Rose
• Friendship
• Time
• Repentance
• Prayer
• Religion
• The Happy Cottage
• A Thought
• Evening Cloud
• Extract
• An Epitaph
• Time
• Modesty
• Extract
• Repentance
• Life
• Prayer
• The Tear
• Sympathy

The Martha Leach Packard commonplace book contains inscriptions, correspondence, autographs, and ephemera that Packard collected from the 1850s to 1890s. Inscriptions and autographs are written directly into the volume; additional items are pasted or laid in. The volume represents prominent individuals such as politicians and academics, as well as Packard's personal acquaintances.

The Martha Leach Packard commonplace book (200 pages) contains inscriptions, correspondence, autographs, and ephemera that Packard collected from the 1850s to 1890s. Packard used about half of the pages; additional items are laid into the volume.

Most inscriptions and autographs are written directly into the volume, and many are dated at Poughkeepsie, New York. Most entries are dated from the 1850s-1890s, though some letters pasted into the book are dated as early as 1837. Prominent individuals such as politicians, artists, and writers contributed autographs (see list below), and historian Benson J. Lossing provided a personal inscription (p. 39). Packard's other contributors included academics and personal acquaintances, 5 of whom mentioned participating in the Civil War (pp. 77, 145).

Laid-in letters include items by famous persons and personal correspondence to Martha Leach Packard and E. W. Packard. The volume also includes visiting cards, a menu from a dinner at the Stevens House (p. 157), a lock of hair (p. 178), and a swatch of fabric (p. 198). The album was originally published with printed illustrations, mainly portraits of women; some later pages contain cut-out colored illustrations of flowers.

• Benson J. Lossing (inscription, p. 39; letter, p. 200)
• John Jay Hyde (inscription, p. 41; calling card, front endpaper)
• Henry P. Tappan (autograph, p. 45)
• Thomas Nast (autograph on card, p. 61)
• Samuel F. B. Morse (autograph, p. 97)
• William W. Belknap (autograph, p. 99)
• Henry Clay (autograph, p. 115)
• Lydia Huntley Sigourney (autograph, p. 115)
• DeWitt Clinton (autograph, p. 115)
• Francis Napier (letter, p. 193)
• P. T. Barnum (autograph, back endpaper)