As it is described in the passage, Brown's explanation of the use of the eyewitness style in Venetian narrative painting suggests that A. The painting of architecture in perspective requires greater drawing skill than does the representation of a human form in a fresco. B. Certain characteristics of a style of painting can reflect a style of historical writing that was common during the same period. C. The eyewitness style in Venetian narrative paintings with religious subjects was largely the result of the influence of Tuscan artists who worked primarily in fresco. D. The historical detail in Venetian narrative paintings with religious subjects can be traced primarily to the influence of the paintings in the Venetian magistrate's palace. E. A style of painting can be dramatically transformed by a sudden influx of artists from another region.