the solar corona as seen in eclipses, if not nearly so brilliant, but, unlike the solar corona, coloured, with a preponderance of red so decided as fully to account for the peculiar hue of the eclipsed Moon. To paint this, unless means of painting light—the one great deficiency which is still the opprobrium of human art—were discovered, would task to the uttermost the powers of the ablest artist, and at best he could give but a very imperfect notion of it. To describe it so that its beauty, brilliancy, and wondrous nature shall be in the slightest degree appreciated by my readers would require a command of words such as no poet since Homer—nay, not Homer himself—possessed. What was strange, and can perhaps be rendered intelligible, was the variation, or, to use a phrase more suggestive and more natural, if not more accurate, the extreme mobility of the hues of this earthly corona. There were none of the efflorescences, if one may so term them, which are so generally visible at four cardinal points of its solar prototype. The outer portion of the band faded very rapidly into the darkness of space; but the edge, though absolutely undefined, was perfectly even. But on the generally rainbow-tinted ground suffused with red—which perhaps might best be described by calling it a rainbow seen on a background of brilliant crimson—there were here and there blotches of black or of lighter or darker grey, caused apparently by vast expanses of cloud, more or less dense. Round the edges of each of these were little irregular rainbow-coloured halos of their own interrupting and variegating the continuous bands of the corona; while throughout all was discernible a perpetual variability, like the flashing or shooting of colour in the
