1. According to the author, what did Ben Jonson fail to understand about theatrical spectacle?
(a) The set and visual components are just as important, perhaps more so, than the words.
(b) It was something which could be enjoyed by people of all ages and classes.
(c) It was able to transport people and give them wondrous experiences.
(d) The actors' talent was more important to the success of the performance than the script.

2. What is the drawback to the "visionary arts" mentioned in Appendix 3?
(a) They can only be experienced in large groups.
(b) They require a great deal of time, effort and expense to put on.
(c) They are ephemeral, and earlier masterpieces have been lost to us.
(d) They are experienced differently by each individual, so no one understands how another experiences them.

3. In theological terms, the progress the author mentions at the end of Appendix 6 is a transition from what to what?
(a) From Hades to Heaven.
(b) From Heaven to Hades.
(c) From Hades to Purgatory.
(d) From Purgatory to Heaven.

4. What does the author say about Millais' "Ophelia" in Appendix 5?
(a) The painter misinterpreted the Shakespearean scene he was attempting to portray.
(b) Its subject matter was too grim for it to be a good painting.
(c) It is a bad picture, but its point of view is interesting.
(d) It would be much better if the painter had made better use of color and shading.

5. What happened to "pyrotechny" after the fall of Rome?
(a) The technology was lost, and development had to begin from scratch.
(b) It returned to being used exclusively for military purposes.
(c) It became used only in religious and national ceremonies.
(d) Bigger and brighter displays were invented.