Non-exhaustive list of things that are revealed by the partially visible 1961 floor plan and wall-to-wall sketches:
>Moley was positioned directly in front of riders immediately beyond the doors to the main room of Toad Hall, in the center of the track just before the U-turn.
>Ratty was apparently in Toad Hall originally, about halfway along the U-turn right after Moley. I don't know whether he was actually located here initially and then moved to the one-way street at a later date, or if the Imagineers decided to change his location before the 1961 updates were implemented.
>The floor plan shows an identical flat prop on either side of the stained-glass bay window, one of which is labeled "new palm." One would assume this was a small decorative palm tree of sorts, or perhaps a single palm frond. As for whether both of the flats were palms, I have no idea, but I would assume they were.
>The flat staircase visible in several of the photos of Toad Hall from The "E" Ticket was removed in 1961, as the space which would become the pantry was extended forward into the main area of Toad Hall and would have ruined the illusion of there being a staircase in the middle of the room.
>Two of the three arched bookshelves painted onto the walls of the space that became the pantry in 1961 were cut out and repurposed into the pantry doors. The wall-to-wall sketch of the doors reads, "Use existing painted flat and rebuild as doors." Very crafty move.
>There was a blast of cold air as riders entered the black space outside of Toad Hall, which is consistent with the mention of cold air at this point in The "E" Ticket's description of the ride.
>The cop outside of Toad Hall was indeed a 1961 addition, as was already speculated. He was positioned in the corner of the room, as per Rich T's recollection, and he faced riders at an angle.
>A stone arch was added over the mirror that reflected the car's headlights, although strangely the drawing of it specifies that it was painted black. Considering how all of the surrounding walls in this area were already pitch-black (meaning that the mirror would have appeared totally black except for the headlights), I don't know how visible this arch would have really been.
>There were several small curves in the track during the harbor scene, which must have been a 1961 addition judging by the 1955 photo of the scene from The "E" Ticket, which shows a straight track.
>The suspended crate gag was in fact added as part of the 1961 update, and it did indeed lower, as with Rich T's recollection of it. It was also a flat rather than a three-dimensional prop.
>The brick wall at the end of the warehouse was painted with faded letters reading, "DANGER - DO NOT ENTER," and the doors always had a unique shape to provide the illusion of the bricks breaking away. Interestingly, the wall-to-wall sketch reads, "Brick wall and doors - Add to existing [...]," perhaps implying that there wasn't even a door there at all in 1955.
>The signalman and possibly the breakaway crossing gate were actually 1961 additions, which is surprising to me. I had always assumed the photo showing a cop outside of the tunnel was merely a bit of pre-opening weirdness, but as it turns out, that's actually how the scene looked prior to 1961.
>A strobe light effect was added to the train collision, which is consistent with the description from The "E" Ticket, although it likely didn't last for too long, as nobody else seems to recall it.
>There were a few small curves in the track after the train collision, which is consistent with Rich T's recollection IIRC. I'm not sure if this was added in 1961 or if it was there from the beginning.
>There was some sort of projected flame effect on the walls of the hell scene. I don't know what this effect would have entailed; The wall-to-wall sketch merely reads, "Flame effect to be projected over dimensional wall treatment."
