[5] The Sydney Morning Herald records that the bride's name was Anne Harriett Murlin, daughter of Benjamin Beaufoy.

'[8] Merlin opened in the old Olympic Circus building in Castlereagh Street and a month later went on the road with the 'burlesque theatre' holding a number of shows, including a performance of Bombastes Furioso by William Rhodes.

[12] Within a few weeks of its, opening Merlin added a new scene to the production titled The Storming of Delhi, from the Cashmere [sic.]

[21] When a presentation of 'The Ghost' arrived at the Victoria Theatre in Adelaide in October 1863, it was Woollaston and a Mr. Solomon who were being credited as the main instigators.

[22] On 21 January 1865, H. Merlin, opened the 'Kyneton Photographic Studio' in Piper Street, Kyneton, a small town in northern Victoria.

The studio was completed at considerable expense and advertised instantaneous portraits, landscape and stereoscopic views, enlargements from carte de visites in crayon and in oil as well as an operating room, 'constructed on the principle recently designed by Mr Matheson of the Crystal Palace, and until the present occasion, never introduced to this colony.

'[24][25] By December 1865 the insolvency proceedings had been resolved and, with no more creditors, Merlin appears to have moved to Ballarat where his mother, now a widow, was also living.

[28] In June 1869, he was at Emerald Hill giving a 'highly-interesting and instructive lecture The Pilgrim's Progress, illustrated with beautiful dissolving views.'

The AAPC business model adopted a new methodology to increase efficiency and mitigate the costs of travelling to country towns.

In December, he was at the El Dorado Goldfields where he photographed the turning of the sod for the Devon Company's first mine shaft.

[3] In October, Merlin left Sydney to take photographs of Wollongong and Kiama leaving Charles Bayliss in charge of the 'supervision of the Landscape Department' and attending to all orders, weather permitting.

On 27 November, Merlin left Sydney on the steamship Governor Blackall as a part of the Australian Solar Eclipse Expedition bound for North Queensland.

Accompanying him on board were a 'who's who' of Australia's natural historians and scientists all of whom were travelling to Cape Sidmouth to view the solar eclipse on 12 December.

Unfortunately, after they had set up their instruments on Eclipse Island the day proved too overcast and, even though he continued to expose the plates Merlin described their trip to have been in vain.

[38] On the return journey, Merlin experimented with taking a series of coastline views of the Whitsunday Passage and succeeded in recording a considerable portion of it.

[43] He then packed up his camera and equipment and headed off to the newly discovered goldfields at Hill End, Tambaroora and Gulgong near Bathurst, New South Wales.

This arrangement does not mean Merlin left the company, in fact he continued to supply Carlisle with negatives of Hill End to print.

[49] The Evening News also made it clear how unique Merlin's enterprise was, these splendid photographs, will, we hope, reimburse the spirited artist for the great difficulties undergone and expense he incurred is carrying out his object in so mountainous and broken a country.

[51] Merlin and Holtermann's relationship came to the fore when the largest piece of reef-gold in the world was discovered in the Star of Hope mine on 19 October 1872.

Then on 30 October, Merlin wrote a long biographical article praising Holtermann's hard work and persistence, which had kept the mine running in the years before they struck gold.

[55] On 1 January 1873 a number of advertisements appeared in papers across the country describing Holtermann's new and ambitious scheme to promote Australia's industrial resources and to seek submissions from interested parties before the proposed opening in eight months time.

In March, the Governor of New South Wales, Hercules Robinson, visited Hill End and Merlin captured the banners strung across the street to welcome him.

[61] The positive transparencies were created by enlarging his original negatives and their size was noted by those that saw the early examples produced by Merlin.

His account of this journey, which appeared in the Town and Country Journal, praised the people and the climate and reads almost like a caption for one of the proposed album of views for Holtermann's Exposition.

As a photographic artist, he was almost without rival, while his talents as a writer were of a superior kind, although the want of leisure greatly interfered with his literary tastes.

As Keast Burke put it "Australia must forever owe a deep debt of gratitude to Beaufoy Merlin, for his photography proved to be the true historian of that time and place—incomparable, authentic[,] unchallengeable.