I have stated, in the Bakerian Lecture read at the Royal Society on April 10, 1862, that the boomerang (prominence E) was not depicted on Señor Aguilar’s photographs. This is true of the prints which came into my hands in England. A visit to Rome in November 1862, however, afforded an opportunity for the examination of the first prints which had been taken in Spain on the day of the eclipse, previous to those printed off for general distribution by Señor Aguilar. I was agreeably surprised to find that the photograph of the first phase of totality showed not only this prominence very distinctly, but also other details, presently to be described, which were quite invisible in Señor Aguilar’s copies. I had in fact experienced some difficulty in comparing measurements of my photographs with those of Señor Aguilar’s, on account of the indistinctness (woolliness) of the latter, which I have attributed to Padre Secchi’s telescope not having followed the sun’s motion perfectly. A careful examination of the prints in Padre Secchi’s possession has, however, convinced me that this was not the case during the period of exposure of the first negative; for I have been able to identify with a magnifier many minute forms which could only have been depicted by the most perfect following of the sun’s apparent motion. For instance, my statement that the prominence H (the fallen tree) was not seen from having been mixed up with the prominence G, is not applicable to Padre Secchi’s copy of the first phase of totality, for in it every detail of the fallen tree can be made out. On expressing to Professor Secchi my surprise at the great discordance between the copy of the first phase of totality sent to me by Señor Aguilar and that of the same phase in his possession, I was informed that after a few positive prints had been taken from the then unvarnished negative, it was strengthened by the usual photographic process with nitrate of silver. This I look upon as an unfortunate mistake, as the images of the prominences were increased and their details hidden, and the beauty of the negative for ever lost.