The album, with cover and case in red morocco bearing the gold monogram "ML" surmounted by a crown, is made up of 51 watermarked and numbered papers, 46 of which contain as many watercolor figures on cut and glued paper, signed and dated in ink. Sometimes there is also an indication relating to the title. The subjects are divided between landscapes, scenes taken from historical or literary episodes, flowers, animals and characters portrayed in caricatural ways. The album maker's label is applied on the third cover: “TERZUOLO, Papetier de l'Empereur Gendre et Next eur de DESPILLY Rue du Mont Blanc, in the New Cell of Mathurins”.

Four low square feet, accompanied on the short sides and in one case on the external side by ornamental tiles with a volute motif, support a simple horizontal molding on which the wooden boat-shaped bed rests with a profile marked by darker wooden threading; the sides are decorated with phytomorphic inlays, and a flower inlay appears on the outside of the upper ends of the flared backrests. Inside the longitudinal members, the headboard and the footboard is the branding "C corona R 4995", common to the furniture coming from the Bourbon Ducal Guardamobile and which sometimes also includes a letter indicating the residence of origin, which is missing here.

The watercolor depicts Maria Luigia in bed while receiving a visit from the Duchess of Montebello; standing on the left is the empress's doctor (Corvisart) holding a small bust in his hands.

The bracelet, with snap closure, is made up of twenty-four flat quadrangular gold links, boxed and chained together; all the plaques, articulated and decreasing in size towards the ends, are engraved with vegetal motifs. In the centre, on a small platform representing a flowery meadow, there is a large Australian baroque pearl which forms the body of a crouching dog, a symbol of fidelity, with head, paws and tail engraved in gold. On the edge of the small platform is a tiny punch representing an eagle's head.

The bracelet features a band made up of Albertina Montenuovo Sanvitale's braided hair, held at the ends by the two gold elements of the snap closure, decorated with vegetal motifs in chiseled gold and black enamel and by six turquoises. The clasp was originally inserted into the gold setting of a large engraved carnelian, surrounded by a motif of gold ovals surmounted by vine leaves in black enamel and interspersed with turquoises; the stone was later transformed into a brooch. The large rectangular stone has the following phrases engraved on three lines: "Al-Baaqi Haadi/Chasmeh neshaatat maftooh baad/Tavakolli Ali khaaleghi", to be translated, with minimal approximation, as: " Eternal guide/May the source of your happiness be open/I depend solely on Ali my creator”; the first and third lines are written in Arabic, while the central one is in the Persian language called Farsi-e dari.

The parallelepiped-shaped box has a maple wood structure externally covered with thuja feather; on both sides there are handles and brass inlays, while on the front there is a lock also in brass. The interior, covered in red morocco with golden friezes and green paper, is arranged on two levels: in the first, which has four extractable elements, the largest of which hides a large compartment underneath, there are custom-made housings for the various work tools; the second level is divided into four compartments, of which the two largest support two drawers (one for spools, another undivided and hosting various yarns). The entire internal part of the lid is occupied by a mirror. A further secret drawer located on the right side, at the base of the box, can be accessed from the outside; in it there is a small mahogany desk covered in leather, inside which there are still contained, in the appropriate spaces, a white writing paper and a glass ink holder. In various points of the box appear paper labels with the name of the textile emporium where it was purchased: “Au Pere de Famille / Rue Thionville, (Dauphine.) / Au coin de Celle / d'Anjou / à Paris”, sometimes supplemented by: “Magazin de Fils / Epingles et Aiguilles”. Under the main compartment there is a label with the complete list of materials on sale at the shop itself.

The rectangular box is made of maple wood externally lacquered in white, with a golden metal lock escutcheon and a real working key; on the lid there is an "L" within an oval, in golden metal like the raised edge and the decorative corner applications. Inside there is a padded green silk pad. For the objects kept in the four compartments into which the first shelf is divided, in the five on the second and for those scattered on the notice board, see "Observations".

In a painted wooden frame.Louise Elizabeth (Versailles 1727 – 1759) was the eldest daughter of Louis XV of France. In 1739 she married Philip of Bourbon, who in 1748 became Duke of Parma. According to Giusto, Nattier, who had portrayed the daughters of King Louis fee of 25 louis, the present drawing of the head of “Babette” alone, made in Paris nine years earlier, perhaps for the canvas that portrays her as Terra (Sao Paulo, Brazil), the model for the posthumous portraits of the duchess. Malinverni instead believes that this sheet, in which he does not recognize Nattier's hand, was created starting from the widespread engravings that Joseph Beléchou took from the 'Earth', observing that the work preserved in the Lombardi museum follows in the inclination of the head the engraving and not the allegorical painting.

The dress consists of a skirt and bodice in pearl-colored silk gauze embroidered with floral motifs in silver lamé and lined in dark ivory silk. The bodice has balloon sleeves and the wide neckline is finished with mechanical tulle lace and ivory silk bobbin lace with gold thread around it. The skirt is gathered around the waist with pleating in the middle back.

The Empire style clock, in gilded bronze, has a rectangular base with a projecting plinth resting on four feet. The front is adorned with vegetal motifs, which frame, in the centre, an affectionate scene between Maria Luigia and the King of Rome and, at the two ends, classical profiles within floral wreaths. The case (made with lost wax casting) of real own clock, which has an unsigned dial enamelled in white and burnished eye hands, serves as a support for the small group formed by Maria Luigia with a high-waisted dress and Greek hairstyle, who holds the child King of Rome in her arms and rests feet on a curtain stool. On the right is a vase of flowers, on the left a harp whose structure ends with a swan's head decoration.