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And Style Of Visualizatii:
Each photographer contributed to t project; working together, sharing common problen they helped one another. The scope of the documentati and its general aim were controlled and guided by Sti ker, who briefed the photographers on the sociologi( and economic backgrounds of their assignments, stim lated their imagination, and encouraged their curiosi Not a photographer himself, Stryker wisely left all qu< tions of equipment, technique, and style of visualizatii to the individual photographers. He pointed out:Trinity Church in Boston, begun in 1872 and finished in 1877, shows the perfection of Richardson's individual style. This style evolved from his study of the Romanesque churches of southern France. The church is cruciform in plan, but the distance from apse Wall to facade is only a little in excess of the distance between the two walls of the transepts. A departure from the Gothic revival style popular after the Civil War, this highly personal Romanesque style of Richardson's had a powerful effect upon subsequent designs.
After a generation or so in which the Corinthian animal frieze style, which seemed to go with the technique, threatened to stifle this tradition, a series of distinguished Athenian Vase painters established a style in narrative that put the Corinthian potters' quarter out of business and restored Athens to the dominant position in Greek art that it had enjoyed in the 8th century. The mid-6th century artists Exekias and the "Amasis Painter" typified the best of the Athenian style.
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