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The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. At least one volume was kept by an African American man, Lewis G. Mosebay. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

Rd. Kraker created this 20-page handwritten booklet titled "Little Girl's Own Book," with an introduction dated April 1, 1864. The manuscript was "Brilliantly Illustrated by Darling" and identified as a first edition in the "1st Series of Confederate Primers," "printed" by the "Southern Emesis Book and job Printing Office." The booklet contains a story, with added notes on proper behavior. According to Kraker's introduction, the content was gleaned from conversations in the "Lager Bier Saloon of Hanns Kroftler" and its earnestness and sentiment was adapted to the "comprehension and bias of mind of the female children of the south." The author told the story of a Northern and a Southern girl, in which the girl in the north became tired of living on a farm and eating onions, so decided to travel to the warmer climate of the south and visit her friend. Upon arriving by train, she witnessed a battle and fell in love with a Confederate soldier. After he returned to the battlefield, she gained solace from her southern friend, through listening to music, by singing and writing, and by seeking treatment for sadness from a physician.

Rd. Kraker created this 20-page handwritten booklet titled "Little Girl's Own Book," with an introduction dated April 1, 1864. The manuscript was "Brilliantly Illustrated by Darling" and identified as a first edition in the "1st Series of Confederate Primers," "printed" by the "Southern Emesis Book and job Printing Office." The booklet contains a story, with added notes on proper behavior. According to Kraker's introduction, the content was gleaned from conversations in the "Lager Bier Saloon of Hanns Kroftler" and its earnestness and sentiment was adapted to the "comprehension and bias of mind of the female children of the south."

The author told the story of a Northern and a Southern girl, in which the girl in the north became tired of living on a farm and eating onions, so decided to travel to the warmer climate of the south and visit her friend. Upon arriving by train, she witnessed a battle and fell in love with a Confederate soldier. After he returned to the battlefield, she gained solace from her southern friend, through listening to music, by singing and writing, and by seeking treatment for sadness from a physician. One of the songs referenced is Charles Carroll Sawyer and Henry Tucker's "When Will This Cruel War Be Over?"

• A moving train, "ye adventurus maid going to the Sunny South."
• A battle scene, with firing cannon, and a freestanding chimney beside two men (one laying on the ground, the other standing), "Findeth ye home desolate."
• Boxes and barrels of goods, "Tobacco &c Tar & Turpentine" and "Pine Trees" beside a jug marked "apple jack."
• Barrels, with a pitcher and glass atop one of them marked "Buorbon" [i.e. Bourbon], "ye Stapels continued."
• A woman in a rocking chair weeping into a handkerchief while a man in a soldier's uniform walks away.
• A piano.
• Four people walking; the two in front are a man and a woman.
• A woman standing, holding what appears to be a fan.
• A farmhouse beside a fence, animals, a birdhouse, and a tree with gourds hanging from its branches (as homes for Martins).
• A woman seated, knitting.
• A woman playing the piano; another woman stands beside her with a hand on her shoulder. They are singing, "When this Cruel war is over-!"
• Vision of injured soldiers, one leg amputee standing with crutches.
• A woman seated and writing a letter.
• A physician seated at a tent opening, reading a letter.

The text includes a parody of physician's explanation and prescription to the disconsolate young woman. The instructions read:

"The exostotic exudation overcoming the endosmotic implication in the peri and endocardium, pluviates the sanguinious, and decalorificates the systemic platitudes. The circumambient exoteric disintegrates the envelope and allows the exoteric functions to retrospect the perihelion of animal deficiancies. The pia mater interconvoluted with the [?] covering and becomes simultaneously congested by contact with the [?] substance. Hence retrovision becomes duplicated and prevision imparalelized. The remedy is equally perspicuous and followed earnestly will inevitably effect a cure..."

The volume includes several lines and paragraphs written in German Kurrantschrift. The most robust is the final page, headed by the text "The Soldier's Lament" and "Der Betrübte-lammantiert Soldadt," followed by a poetic description of snow-capped mountains and remarks on girls' behavior, i.e. "Wie schön wäre es [wenn?] die kleine Mädchen immer die Wahrheit sprächen" (How nice would it be [if?] little girls always spoke the truth), etc.