The fourth paragraph mostly serves to highlight text
A. provide important information about the main topic of the passage
B. introduce Emma’s point of view on the main topic of the passage
C. argue that the miniatures in the museum do not belong on display
D. explain why Paolo is misguided in the belief he has held throughout the passage

Passage:
As Emma hurried through the Art Institute of Chicago’s entrance, she became giddy with excitement. She simply could not wait to revisit her favorite gallery from her childhood. Although there were other reasons for her trip to Chicago (namely her best friend’s wedding), Emma knew that visiting the Thorne Miniature Rooms was what she looked forward to most.

This was her first visit to the Art Institute in nearly two decades. It was her first visit as an adult and the first time she was going to the museum with her husband, Paolo.

When she had told Paolo about her favorite exhibit, he had mocked her. He asked why any grown woman would possibly want to waste her time looking at toys.
“They aren’t ‘toys,’” she said. “The exhibit is a series of small rooms modeled after European and American interiors from the past three centuries. Everything in the rooms is a scale model of furniture and décor from their particular time period. They’re just like real rooms, but 1/12th the size!”

“That sounds like dollhouse furniture.” Paolo replied. “So how are they not toys?”

“Well, for one thing, there are no dolls in the rooms. And second, they are handcrafted, beautiful pieces. And third, they’re behind glass. And finally,” Emma added with a smile, “you can’t play with them, so they must not be toys.”

Upon entering the gallery room, Emma rushed to show Paolo her favorite room—the one modeled after a lobby of a home in Tennessee from 1835. The walls were painted to depict a peaceful garden. The spiral stairway in the back gave the illusion that the miniature world extended beyond what Emma could see. Emma had spent hours of her youth imagining what went on in the nonexistent upstairs of the house. But now, as an adult, she was not lost in the fantasy of what happened beyond the miniature. Instead, she found herself moved by how real the tiny world in front of her looked. The artist’s attention to detail was amazing; all of the furniture looked so real it was hard to believe that tiny people did not actually live in the exhibit.

Paolo too was touched. Once he saw the rooms with his own eyes, he no longer needed an explanation. The pieces were clearly not toys—they were a strange combination of art and history, all in miniature.