Collections : [University of Michigan William L. Clements Library]

Teenager Gilbert Attwood created this 8-page manuscript magazine titled "The Nick-Nack" (vol. 1) while attending high school in 1840. The magazine features humorous articles and advertisements, comments about Attwood's teachers and classmates, and several small drawings.

Teenager Gilbert Attwood created this 8-page magazine titled "The Nick-Nack" (vol. 1) while attending high school in 1840. The magazine features humorous articles and advertisements, comments about Attwood's teachers and classmates, and several small drawings.

The magazine's sections include "Names" (a rumination on the names of other students, as well as objects like streets and chairs), "A Year in the Country" (Attwood's account of his family's move in the spring of 1838), "Parody on the Country Schoolmaster Original" (a take on the poem "The Village Schoolmaster" by Oliver Goldsmith), "Extracts from a Journal," and "A Peep into the Year 2000." The sections are separated by thin black lines. Advertisements include "Printing," "Lectures," "Arostook Whiskers," and "Stop Thief."

The collection consists of twenty-one illustrated letters written by Hank Hanft around 1919 to his approximately five-year-old brother Robbie, likely in or near Wisconsin. The letters were written using block letters, likely to assist a young child's ability to read them, and feature the use of pencil, crayon, and watercolors to produce drawings and paintings. The illustrations include scenes of fishing, farming, and hunting, and objects such as animals and plants, boats, and household and agricultural goods. Hank also wrote moralizing stories, often about animals or children.

The collection consists of twenty-one illustrated letters written by Hank Hanft around 1919 to his approximately five-year-old brother Robbie, likely in or near Wisconsin. The letters were written using block letters, likely to assist a young child's ability to read them, and feature the use of pencil, crayon, and watercolors to produce drawings and paintings. The illustrations include scenes of fishing, farming, and hunting, and objects such as animals and plants, boats, and household and agricultural goods.

Hank also wrote moralizing stories, often about animals or children, with lessons such as, "Never Be Late," "Always Go to Sunday School," "When You Fight, Soak the Other Boy, But Don't Talk and Swear About It," among others. Two items relate to witches, one a watercolor painting of a Halloween scene with a witch flying on a broomstick and the other a short story about an old lady who refused to eat and turned into a witch. Only one letter is dated in the collection, written from Hank to his father on May 3, 1919, requesting financial support to cover housing costs, suggesting Hank may have been a young adult or attending school away from home.

The Hazel L. Sloan motorcycle journal chronicles six trips taken near Youngwood, Pennsylvania, by the young woman and several of her friends in the summer of 1914. The journal is accompanied by a pencil sketch of an Indian motorcycle.

The Hazel L. Sloan motorcycle journal chronicles six trips taken near Youngwood, Pennsylvania, by the young woman and several of her friends in the summer of 1914. During that summer, the fifteen-year-old rode out on both Indian and Thor motorcycles, accompanied by her friends Ralph, Mabel, and Lawrence, and she cheerfully related their adventures in her notebook. Tire blowouts and other mechanical failures plagued the riders throughout their adventures, and the riders often found themselves additionally hampered by the weather or by poor road conditions; despite these mishaps, however, Hazel maintained a happy attitude and fully relished "the good times of the summer of 1914" (November 8, 1914). She recounted six day-long trips taken between September 20, 1914, and November 8, 1914, when a light snowfall forced an abrupt end to the journey and, moreover, signaled the conclusion of the riding season. Based in Youngwood, Pennsylvania, the cyclists visited Derry, Bear Rocks, Connellsville, Ligonier, New Stanton, Ruffsdale, and Jeannette, and postponed an October 25 venture due to a broken machine. The small, cloth-bound pocket notebook originally belonged to Samuel Francis Sloan, Hazel's father, and bears an illustration of a man and a steer on its cover. The journal is accompanied by a pencil sketch of an Indian motorcycle.

This volume contains a typescript of a speech that Henry Cabot Lodge delivered to the United States Senate on December 21, 1918. Lodge discussed peace negotiations between the allied powers and Germany following the end of World War I, commenting on Congressional involvement in treaty negotiations and on proposed provisions such as reparations, the division and independence of various territories, and the establishment of the League of Nations.

This volume is comprised of a 48-page typescript of a speech that Henry Cabot Lodge delivered to the United States Senate on December 21, 1918, accompanied by a printed copy of the speech (1918). Henry Cabot Lodge wrote an inscription on the frontispiece: "Edward W. Doherty. With regards of Henry Cabot Lodge" (January 27, 1919). The typescript includes annotations in pencil. A drawing of Lodge by William Bengough (April 7, 1902) is laid into the volume.

Lodge's speech, later published under the title "The Coming Treaty of Peace," pertains to peace negotiations between the allied powers and Germany at the end of World War I. Lodge discussed the importance of Congressional involvement in treaty negotiations, expressed his opinions about proposed provisions, and shared his belief that the Allies should agree on terms themselves before meeting with German representatives. He first defended the necessity of harsh provisions against Germany, stressing the importance of preventing any future attempts at European conquest, and then encouraged the dissolution of Germany's colonial empire; the division and independence of several territories, particularly in Eastern Europe; and German payment of financial reparations.

Lodge also commented on aspects of international relations and the peace process, including the need to encourage a strong and stable Russia, United States justifications for entering the war, the proposed expansion of United States naval power, and the freedom of non-territorial seas. He also condemned the use of "secret diplomacy." The final part of Lodge's speech concerns the proposed League of Nations: he repeatedly attacked the vagueness of existing propositions and pointed out several logistical problems related to the arbitration of international disputes, the league's use and control of a country's sovereign troops, and other matters. He concluded his remarks by expressing his belief that the League of Nations was an unnecessary distraction to the more important task of securing peace.

This collection is made up of correspondence, diaries, documents, ephemera, and other items related to Hilon A. Parker and other members of the Parker family. The papers reflect Hilon A. Parker's life in Plessis, New York; his service in the 10th New York Heavy Artillery Regiment during the Civil War; and his postwar work as a railroad engineer and administrator.

This collection (3 linear feet) is made up of correspondence, diaries, documents, ephemera, and other items related to Hilon A. Parker and other members of the Parker family. Materials pertain to Hilon A. Parker's life in Plessis, New York; his service in the 10th New York Heavy Artillery Regiment during the Civil War; and his postwar work as a railroad engineer and administrator.

The correspondence (464 items) consists mainly of personal letters written and received by Hilon A. Parker between the 1860s and early 1910s. During the Civil War, Hilon A. Parker and his brother Harvey exchanged letters and wrote to their parents about service in the Union Army. Hilon served in the 10th New York Artillery Regiment. Thirza Parker, Hilon and Harvey's sister, provided news from Plessis, New York, while her brothers were away. Much of the correspondence from the late 1860s consists of letters between Hilon A. Parker and Mary Cunningham, his future wife. Hilon described the scenery and his work for railroad companies in Iowa, and Mary wrote about her life in Copenhagen, New York. After their marriage, most of the correspondence is comprised of incoming letters to Hilon A. Parker from personal and professional acquaintances. Parker received many condolence letters following Mary's death in early 1892. Later items include content related to Native American schools and to Parker's career in the railroad industry. A few late items sent to Hilon's daughter Florence in 1911 and 1912 concern his estate.

A group of 36 pencil and colored drawings and 32 letters relate to students at the Rainy Mountain Boarding School on the Kiowa-Comanche-Apache reservation in western Oklahoma. Kiowa schoolchildren gave the drawings as thank you notes to Hilon Parker, general manager of the Rock Island Railway, for a train ride he arranged for them in 1899. The children's ledger drawings show teepees, traditional Native American costume, and animals such as horses and buffalo. The children sent 13 letters to Hilon A. Parker on May 5, 1899. The Kiowa correspondence and drawings are accompanied by a group of 19 letters by grade school children in Chicago, Illinois, to Florence Parker Luckenbill, Hilon A. Parker's daughter, around 1925. The Chicago children commented on the Kiowa drawings and letters.

The Hilon A. Parker diaries (31 items) form a continuous run from 1860 to 1911, with the exception of the years 1896 and 1903. His brief daily entries concern life in Plessis, New York, in the early 1860s; service in the 10th New York Heavy Artillery Regiment during the Civil War; and work for the Chicago, Rock Island & Pacific Railway Company. Lucinda Parker, Hilon's mother, kept 6 diaries covering the period from 1858-1865, excepting 1862. She commented on her daily activities and social life in Plessis, New York.

Hilon A. Parker made entries in a commonplace book from February 1863-August 1863 and in April 1866. The first section of the volume contains poems and brief essays composed at Fort Meigs in Washington, D.C. Many of the entries refer to military life and to the war. The later pages of the volume include diagrams of cannons, mathematics and physics notes, and definitions of military terms. Items glued into this section of the volume include a small paper flag and many clipped autographs.

The collection's military documents (39 items) include orders, passes, commissions, and other documents related to Hilon A. Parker's service in the 10th New York Artillery Regiment during the Civil War; one item pertains to his pension. Undated materials include a casualty list and a blank voucher form.

Nine account books belonging to Hilon's father Alpheus Parker span the years from 1853-1878. Some of the volumes pertain to Parker's accounts with specific banks. Hilon Parker's business papers contain 35 accounts, receipts, and other items related to his personal finances and to his work for the railroad industry; one item concerns his voter registration (October 19, 1888). Most of the later material, including contracts and other agreements, regard business agreements between railroad companies. Some of the accounts are written on stationery of the Chicago, Rock Island & Pacific Railway Company.

Mary Cunningham's Hungerford Collegiate Institute papers (40 items) include essays, poetry, report cards, and newspaper clippings related to Cunningham's studies at the institute in the mid-1860s. The papers include a manuscript magazine called The Nonpareil, edited by Mary Cunningham (Vol. 5, No. 8: November 18, 1863).

Approximately 80 speeches, addresses, and essays written by Hilon A. Parker pertain to the Civil War, the Republican Party, and Illinois politics. Parker also composed speeches and essays about the life of Abraham Lincoln and about Native Americans.

The Hilon A. Parker family papers include 8 photographs: an ambrotype image of several members of the Parker family posing outside of the Parker & Fairman storefront in Plessis, New York, and portraits of Derrinda Parker Tanner (tintype), Isaac L. Hitchcock (daguerreotype), Lucinda and Thirza Parker (daguerreotype), two unidentified women (ambrotypes), Hilon A. and Harvey M. Parker in military uniform (card photograph), and Hilon A. Parker as a grown man (photographic print).

A scrapbook contains newspaper clippings, ephemera, and other items related to the life of Hilon A. Parker. Many articles concern Civil War veterans' groups (the Englewood Union Veteran Club and the Grand Army of the Republic) and other topics related to the war, such as an article regarding a reunion of the 10th New York Heavy Artillery Regiment, the fate of John Brown's wife and sons, memorial poems, and a map of entrenchments around Petersburg, Virginia. Other groups of clippings concern Illinois politics, liquor laws, the railroad industry, and the life of Hilon A. Parker.

The papers include newspaper clippings (21 items), biographical notes and writings (18 items), a hand-sewn US flag made by Thirza Parker for Hilon Parker while he served in the Civil War, a silhouette made in Denver, Colorado, in 1903, and other items.

This journal reflects the experiences of Hiram B. Crosby, a New York City lawyer, during his trip to Michigan's Upper Peninsula in the fall of 1872. As part of a prospecting party, Crosby analyzed the potential for iron mines near Iron Mountain, Michigan. He recorded his impressions of local scenery, commented on his daily activities, and described the area's Native American settlements and peoples. The volume contains 24 pen and ink drawings.

This 127-page journal reflects the experiences of Hiram B. Crosby, a New York City lawyer, during his trip to Michigan's Upper Peninsula in the fall of 1872. As part of a prospecting party, Crosby analyzed the potential for iron mines near Iron Mountain, Michigan. Crosby began the journal on September 26, 1872, as he left New York City, traveling by railroad to Menominee, Michigan, via Sandusky, Ohio, and Chicago, Illinois. While in Ohio, he visited Jay Cooke on Lake Erie's Gibraltar Island (September 30, 1872), and pasted a pressed flower from the island onto the journal's first page.

After his arrival in Menominee, Crosby joined the members of his party and together they started out for Iron Mountain, where they planned to inspect specific areas for iron mining potential. In daily journal entries, Crosby recorded details of the group's travels along the Sturgeon and Menominee Rivers, particularly regarding local scenery and people. A few days into the trip, he fell from his horse while attempting to shoot a partridge, and suffered a fractured wrist (October 4, 1872); despite his injury, the trip proceeded smoothly, aided by the expertise of local Native Americans the group hired to make camp and guide the mining party. Crosby and the others frequently traveled by canoe, and he often described the guides and local Native American settlements, particularly at "Bad Water," near Iron Mountain.

On October 10, 1872, the explorers reached Iron Mountain and proceeded to examine the area. They set out again for Menominee shortly thereafter, and reached the town on October 15. There, Crosby inquired about the prices of shipping iron ore to Cleveland by boat (October 16). From Menominee, Crosby traveled to Escanaba, Marquette, and Houghton, Michigan, before heading to Detroit, which he described in several entries in late October. Crosby wrote the final entry in Detroit on October 26, 1872.

Three items are inserted into a flap in the front cover of the journal: 2 assurance tickets for Hiram B. Crosby from the Railway Passengers Assurance Company (November 14, 1872) and an advertising card for the Douglass House in Houghton, Michigan. A printed view of Marquette, Michigan, is pasted onto page 108 of the journal.

The journal also includes 24 pencil and ink drawings depicting scenes from Crosby's travels in the Upper Peninsula. See the Additional Descriptive Data section of this finding aid for an index of the illustrations.

This volume contains financial records, copied poetry and prayers, and colored illustrations compiled by various members of the Holstein family of Pennsylvania in the mid- to late 18th century. Most of the text is written in German.

This volume (about 100 pages) contains financial records, copied poetry and prayers, and colored illustrations compiled by various members of the Holstein family of Pennsylvania in the mid- to late 18th century. Most of the text is written in German.

Much of the volume is comprised of financial accounts recorded between 1753 and 1757, with 3 English-language promissory notes and receipts dated as late as January 1826; the later items pertain to John Holstein. Poems, devotions, and brief notes are written alongside the accounts. Numerous colored drawings in black, red, and yellow ink are located throughout the volume. These illustrations, which are crude examples of the Fraktur style, include floral patterns, pictures of people (sometimes represented by stick figures), and drawings of birds. Page 91 contains rubbings taken from 14 coins minted as late as 1831, including coins with the "draped bust" design, a "large cent," and a piece of Spanish currency.

This volume was owned by successive generations of the Hoyt family in Stamford, Connecticut, and Hudson, Michigan, in the 18th and 19th centuries. Its contents include military accounts from St. Johns, Newfoundland; arithmetic problems and solutions; and drawings of animals and natural scenes, including two hunters' encounter with a bear.

This book was owned by successive generations of the Hoyt family in Stamford, Connecticut, and Hudson, Michigan, in the 18th and 19th centuries. The front cover of the hide-bound volume bears the faint remnants of the English royal arms. Writing on the inside of the front cover indicates that the volume was owned by Jonah Hoyt (or Hait) before being presented to his grandson, Fred L. Hoyt, on his 21st birthday. The early pages include 7 pages of accounts for the receipt of military stores and provisions at St. Johns, Newfoundland, between September 1762 and August 1764. The section also contains a birth register regarding the children of Jonah and Anna Polmateer Hoyt.

The bulk of the volume is mathematical problems and solutions, including exercises related to multiplication, division, fractions and decimals, currency reduction, and the rule of three (cross-multiplication). Several measurement conversion tables, brief poems, penmanship exercises, and geometric line drawings are interspersed throughout this portion of the book, which also includes signatures by Jonah Hoyt and his son Lewis. Most of the poems are brief and humorous, with longer poems concerning a visit to London and the virtue of patience. Newspaper clippings regarding the death and funeral of George Washington, the wealth of Cornelius Vanderbilt, presidential election results from 1789 to 1872, and Ralph Waldo Emerson's poem "Boston" are laid and pasted into the volume. A few plants are also laid in, as well as a letter from T. Andrews to Mary Andrews about life in Ypsilanti, Michigan, in February 1837. Decorated cutouts made from colored paper are pasted into the volume.

Emery Hoyt and other family members created many drawings, which appear after the arithmetic problems. Two are colored: a partially colored view of a church resembling a castle and a reproduction of an engraving showing a waterfront scene (the original engraving is laid into the volume). Most of the remaining pictures are pencil drawings and sketches of wild animals, including woodland creatures such as squirrels and deer; farm animals such as horses, cattle, and pigs; and African animals such as elephants, an oryx, and rhinoceroses. Other scenes of note show two hunters during an encounter with a bear, with one of the hunters preparing to hit the bear with the butt of his rifle; a safari hunter beside an elephant; and cavalry officers stabbing and shooting Native Americans. Also included are an outline of the state of Maine and a sketch of a sailing ship.

This scrapbook includes clipped articles and images, original drawings, and written entries within the pages of a 1850s blankbook of receipts. Contextual clues indicate that individual(s) added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine. Original drawings primarily center on themes of violent encounters between scouts and Native Americans, romantic entanglements, and conflict. Sometimes illustrated newspaper and magazine clippings are pasted throughout the volume, many relating to themes of marriage, love, women, family, and memory. Several pages were used to copy a portion of an undated letter, an essay, and a manuscript poem.

The individual(s) who created this scrapbook pasted items, drew scenes, and wrote entries within the pages of a 1850s blankbook of receipts, seemingly created for use by a Boston shipping or exportation company. Contextual clues indicate that persons added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine.

Penmanship exercises and short notes are written on many of the pages, either where no additional content has been added or where clippings have been pasted on top. The names James Randall Reeves and Orren Cunningham appear on some of these pages, as well as place names of Bennington and Windsor, Maine, possibly indicating one of the early owners of the volume. The handwriting appears to match the text that accompanies the original illustrations.

Original drawings made using pencil, colored pencil, and ink can be found throughout the volume, sometimes with dates added, ranging from 1863 to 1869. Remnants of clippings that had previously been affixed to the page indicate that an owner of the volume must have pasted items into the scrapbook at a later date than the drawings were originally produced. Many of the images depict scenes of conflict or relate to two fictional characters, Hezekiah and Ezekiel. The two men appear to be scouts, and the images depict their encounters with villains, Native Americans, and a love interest, Flora. Violence, unrequited love, and emotional disappointment are central themes, and the concept of a "gas of hope" that spontaneously streams from Ezekial's head appears several times when the character experiences excitement or distress.

• Page 1: "Back Villains for your lives, says Peter, or you shall all die at the break of day by Cats." At the base of the page: "Indifference.". The illustration shows a man carrying a revolver in one hand while a woman holds his other arm. She extends an arm out behind her towards two men following them, one with a darker complexion and a machete raised over his head and the other pointing a musket at them.
• Page 3: "As the Villains again leaped against the door, an arm was thrust through the broken hand, and a voice cried out." The illustration is a nighttime scene with three men with a battering ram striking at a closed door of a house, where a man points a pistol out of an opening at them.
• Page 6: "Rescued from fire..." (the text is partially obscured by remnants of a newspaper clipping). The drawing depicts a firefighter descending a ladder from second story that is ablaze, holding a woman in his arm.
• Page 8: "...burly scout. A Sioux Chief captured" (the text is largely obscured by affixed clippings). The drawing shows a mustachioed man in military garb, a fur hat, and a cape who is holding a knife covered in blood. He is grabbing the arm of a Native American man who has dropped his knife and who is bleeding from a wound in his arm. Two ink drawings of insects (a beetle and a dragonfly) are pasted on the page.
• Page 10: "Perrilous adventure of Hezekiah the Scout, under cover of the darkness at the haunted schoolhouse." The image is a nighttime scene of a small building with a man climbing through a window. Another man runs behind him saying, "stop villain stop."
• Page 12: "The fate of Hezekiahs beaver is inevitable" and "Wonderful adventure of the Scout, Hezekiah cries out with a loud voice Ezekiel come here, help me bind these knaves." The drawing is of a bare-chested man in a green hat, holding two Native American men by the throat, one in each hand. A pencil marking indicates the year 1865.
• Page 16: "...The robber of the Rhine" (at least one additional word is partially obscured). The drawing depicts a balding man smoking a long pipe, wearing a musket on his back, and holding a bloody sword in front of him. A pencil marking indicates the year 1866.
• Page 18: "Death of Heavy [?]" and "Desperate adventure of Hezekiah, Slatt down in Kintuck..." The image is of a shirtless man (with a green hat) facing off with a Native American man, the former wielding his musket overhead and the latter his tomahawk each to strike the other. They stand over three dead or dying Native American men.
• Page 21: "Ezekial, & he knows who, on sunday eve, at the schoolhouse coming from meeting, by cats." The drawing depicts a man kneeling beside a seated woman who is holding a handkerchief or piece of cloth. One of his hands is on her shoulder, the other holds one of her hands. Another man lies face down in the corner.
• Page 24: "Weep stricken one your sorrows will have an end." Text at the bottom of the page is largely obscured by clippings, but "Ezekiel" and "Flora" are both visible. The drawing shows an upset man with mussed hair and arms akimbo, holding a handkerchief. One of the clippings over the man's head is "FIRST LOVE." A pencil marking indicates the year 1866.
• Page 26: "A streak of hope for Ezekial." The drawing shows a smiling man wearing a yellow hat that is releasing a stream of green gas, labelled "gas of hope."
• Page 27: "weep on str[i]cken one thy sorrows shall never end." The image depicts two men standing before a small grave with headstone reading "Dead Hope." Ezekiel, wearing a yellow hat from which "gas" spews, points down to the grave, saying, "What Have You Buried There Hezekiah." Hezekiah, barefoot, wearing a green hat and ragged pants, and holding a shovel, replies, "A. Dead Hope. I. Thought. She. Loved Me. But. She Did. Not Oh. Dear. What. Shall. I. Do Boo Hoo Boo Hoo." The illustration is marked in ink: "Drawn by Ezekiel himself in 1867."
• Page 30: "N.E. View of the royal oak of Shag Town, May 2d 1867." The drawing is a landscape featuring a large barren tree with a wooden plank/case/contraption and musket leaning against it. A sun smiles in the sky.
• Page 32: "View of Mud Pond, & Poccihog Hill, Sketched on the eastern rock, At half past three O'Clock." A landscape drawing shows a lake and a heavily wooded hillside. A smiling sun is in the sky and a person rows a boat on the lake.
• Page 36: Portrait of a bearded man in military uniform, with blue and gold epaulettes.
• Page 38: "A sorrowful meeting of the two scouts, Dialogue. Ezekial - 'Oh the letter, the letter, she loves me not.' Hezekiah - "Weep not Bro Scout, I pronounce it a forgery, by cats." The image is of two men wearing hats, muskets, and powder horns. One holds a slain animal in his hand, and the other cries while holding a letter and gas spews from his hat.
• Page 40: "Tallow plenty, or courting by candle-light, Stebbins telling Flora about his farm, out west." The drawing is an interior scene of a room with wallpaper, curtains, chairs, and a table. A man and woman embrace while holding candles, and additional candles are located on the table, chair, and floor.
• Page 44: Text at the top of the page is partially obscured but reads in part, "Bachelor . . . the famous scout," while additional text at the bottom reads "The inocent subject of my contempt by day, and my dreams by night." The drawing is a portrait of a man in a rumpled green hat, shirt, and suspenders, likely representing Hezekiah. A printed, pasted-on caption reads "THE GHOST OF OAK GROVE."
• Page 46: The letters "P.L.L." appear at the top of the page, and the note "Signed in the first degree, P.L.L." appears beside a highly stereotyped pencil portrait of an African American man.
• Page 48: Portrait of a bearded man.
• Page 50: Portrait of a man with moustache and goatee, with the text, "Art. Miller, California" written beside him.
• Page 52: "Poor old maniac, but once powerful scout, now dwindled away with sorrow for the lost Flora." The image shows Ezekial holding a wooden cane and a large "grief bag" on his back that has a vent spewing gas. On the bag is a printed, pasted-on caption reading "THE HAND OF FATE". He is wearing ragged pants and his hat spews green gas. Hezekiah wears his green hat and proffers something to Ezekial, saying, "Poor old fellow you must be hungry. Can I do anything for you, you seem to be weary of life. I guess I take you to a place of safety at once." Ezekial: "Answers with great vigor. I'm not hungry it is grief that gnaws like hunger at my very vitals. No never. You are the man that ruined me, if I was a smart man as I [...] I would kill you."
• Page 54: "Ezekial goes home with -- gets near home when the old scout jumps through the gateway inclosed in a sheet, See the consequences, of his rush act." The image shows a man draped in a white sheet standing in the doorway of a round stone structure. A well-dressed man and woman run apart from each other, leaving their hats on the ground. On the opposite page, several notes are written: "The identical hat worn by Hezekiah at the siege of Tattletown"; "The hat worn by Hezekiah at the destruction of Troy"; and "The sad effects of first love."
• Page 56: A man wearing a feathered hat and cape brandishes a sword while standing with one foot on the back of a slain man who has dropped his sword. He continues to fight with a man in a robe with a cross on it. A woman sits on the ground with a hand to her head. A printed, pasted-on caption reads "WHO''S TO WIN." A pencil marking indicates the year 1869.
• Page 58: "The burly scout, the stabbed scout, & Frankrifle, outscouted, by the bank scout at the old barn . . . gets valuable information concerning the conspiracy, by cats." The image shows four men in a hayloft, one, likely Ezekial, wears a yellow hat that is expelling gas. A printed, pasted-on caption reads "HUNTED DOWN."
• Page 60: "In dishabille," and at the bottom of the page: "Stebbins - 'Get out of my bed, Oh get out of my bed!" The drawing is of a woman wearing a shift and draped with a blanket reclining in a bed. A man in a nightshirt is seated on floor gesticulating at her.
• Page 62: "Who's Been here?" The drawing shows a woman looking out the window, while a man in a nightshirt, carrying the rest of his clothes, flees from the open door. A nicely dressed man with cane approaches him. A printed, pasted-on caption reads "TAUGHT BY EXPERIENCE."
• Page 64: "My idea of domestic bliss. or High life in the Lowlands." Text at the bottom of the page reads, "Stebbins about played out. 20 years hence." The drawing shows a man holding a hatchet in one hand, while wearing ragged clothing and a green hat spewing gas. A woman hits him over the head with a broom, while many small children are strewn about the floor and pull on the adults. A pencil marking indicates the year 1864.
• Page 66: A flying lizard/dragon with a shouting sun.
• Page 90: A checkerboard.

Newspaper and magazine clippings are pasted throughout the volume. While content varies, many relate to themes of marriage, love, women, family, and memory. Poetry is heavily represented. A fair number of the clippings include jokes, humor, and wordplay. Several are directions for household maintenance or preventing pests, and a number of others relate to scientific topics.

In addition to articles and written text, the compiler also pasted in clipped illustrations from newspapers and magazines. Several feature Union Army officers, most of whom appear to have a connection to New York State. Landscapes of New York City and the Amazon River are also included, as well as several satirical illustrations and animals.

A number of the printed images relate to women, including Tennie C. Claflin, Victoria C. Woodhull, and Elizabeth R. Tilton. Rev. Henry Ward Beecher's image appears twice in the volume, including once where he is placed facing Elizabeth R. Tilton and a chain connecting the figures by the nose has been added in by pen (page 14). A short poem written in ink appears below it, reading:

Henry W. B., so buoyant with glee,

And Lizzie R. T., so innocent and free,

As happy as bees in the sweet apple trees

Raised a slight (?) breeze and made the whole world sneeze!

Several pages appear to have been used to copy a portion of an undated letter, which referenced a trip from Portland to Augusta, Maine, on the Maine Central Railroad, attitudes towards funerals, the teaching profession, arguments, and placebos (beginning page 57). Another passage appears to be an essay entitled, "to old Bachelors & maids" (pages 86-88) and a manuscript poem is written on the back inside cover that seems related to scouts and Native Americans.

This volume is an extensively hand-annotated copy of the Poetical Works of Alexander Pope that belonged to Isaac Bullock of Danvers, Massachusetts. Bullock was a mariner, bibliophile, and amateur classicist.

This volume is an extensively hand-annotated copy of the Poetical Works of Alexander Pope that belonged to Isaac Bullock of Danvers, Massachusetts. Bullock was a mariner, bibliophile, and amateur classicist.

He revealed his knowledge of Homer, Plato, Josephus, Cicero, Virgil, Edward Gibbon, Lord Byron, and William Cullen Bryant in his annotations. Numerous tipped-in handwritten slips provide commentary by Bullock, and other scholars and historians.

The introduction to the volume (Dr. Johnson's "Life of Alexander Pope") as well as Pope's poems "Essay on Man" and "The Dunciad," are heavily annotated. Bullock inserted his own original pen and ink drawings in the margins, including ancient rings and pins, daggers, hatchets and battleaxes, Neptune rising from the sea, and "Ruins of the Temple of the 'Athenian Dame'-Minerva Polis-as they remain today." He also inserted printed illustrations from other sources.

On the flyleaf, Bullock tipped in a three-page writing called "Reminiscence of my Youth," in which he wrote about his literary education and the influences of Socrates, Gibbon, Pope, Shakespeare, Defoe, Lord Byron, and Jeremy Belknap.