This chapter discusses decisions that police should make about how to collect eyewitness identification evidence to ensure that they elicit the most accurate identification decisions from eyewitnesses. Eyewitness decisions include whether to select someone out of a lineup and whom to pick, as well as confidence in the accuracy of that choice. Although witnessing conditions – including (among others) whether the perpetrator and witnesses belong to the same racial/ethnic groups, weapon presence, and poor viewing conditions – can influence the accuracy of identification decisions, the chapter will focus primarily on how decisions made by the police about which identification procedures to use affect the accuracy of identification decisions. The chapter discusses many of these decisions in the context of the best practices that are recommended based on the available literature. Of special interest is when there is an interaction between the witness conditioning the decisions made by law enforcement. The chapter concludes with recommendations for future research on these topics.

Chapter 6 brings together evidence of all kinds from the whole period to create a vivid picture of popular opera and its audience in the theatre. ‘Theatre Size and Ambience’ correlates detailed historical information to produce a systematic overview of many theatre buildings, together with interior details and size of musical ensembles. Ticket admission prices at the Opéra, Comédie-Italienne and the Fair theatres are compared and assessed. Descriptions by a number of eyewitnesses (French, Italian, English, Irish and German observers) combine to give an impression of activity in popular theatre seen from the audience’s point of view. In a survey of staging, the evidence is both visual and textual: engraved and painted illustrations are analysed and ‘corrected’ so that the proportions of stage sets can be understood. Then a synopsis of stage directions suggests the material range of experience in popular opera. A survey of lighting effects is discussed in relation to stage context, showing how some comedies combined lighting effects with music.

Throughout this book, I have disassembled the book of Revelation line by line in search of the principles that underlie its organization. The Epilogue is the moment to reassemble it and verify the model of reading. The result is positive, and it is concluded that the narrative form of Rev 1.9–22.16 is analogous to the short story form as it has developed since the nineteenth century. The principal argument put forward in this book is that one of the singular characteristics of this form is its emphasis on the reader or listener. Revelation also coincides with the short story form in that it features a wide range of characters whose adventures are woven into a plot charged with successive waves of tension and relief that lead eventually to a happy ending. Lastly, there are similarities in the techniques employed: flexibility in the use of space–time coordinates and the intensive use of descriptive adjectives that simultaneously sway the emotions of the reader/listener and provide clues as to the goodness or wickedness of the characters portrayed.

This chapter is dedicated to showing the technique used by John to portray himself as an eyewitness: description. This description, in the classical rhetorical tradition of ante oculos ponere, engages the audience in the narrative by giving them the opportunity to visualize what John himself saw. For example, descriptions introduced by the phrase ?a? e?d?? are rendered as though they formed part of a transcription of a vision made at the very moment it occurred. This is why they appear in the text ex abrupto, marked only by the introductory sign ?a? e?d??, a device habitually used to signal the reader/listener that a given vision has occurred unexpectedly. The ?a? e?d?? structure mimics the mechanics of sight. However, the descriptive forms employed in the book of Revelation are not limited to the use of this ?a? e?d?? pattern. On the contrary, throughout the text John employs six other kinds of descriptions: 1) ????sa ?a? e?d?? descriptions, or ecphrasis; 2) e?d??-????? descriptions; 3) t? p???e??µe?a descriptions; 4) ?a? e?d?? ???e??? descriptions; 5) ?? t? d????se? descriptions; 6) t?p?? or t?p???af?a descriptions.