lated light and shadow, particularly visible in the saint's robe. This gives an illusion of physical weight and solidity to the figure underneath. According to Adams (1997), Masaccio used both linear and aerial or atmospheric perspective in this and other altarpieces. Atmospheric perspective is a painting technique based on the fact that objects in the distance appear to be less distinct and vivid than nearby objects. Thus, Masaccio used aerial perspective in this and other works to focus the viewer's attention on the solid figure of the saint while increasing the depth of the painted background to create the impression of a natural landscape. Adams (1997) states that with his use of one-point perspective, Masaccio laid the foundations of Renaissance.
The condition of the painting, given its age, is quite good. The colors, which are somber to reflect the heaviness and significance of the saint, have dulled and faded with time, but the haunting gaze of St. Andrew directed toward Christ remains compelling. There is a convinc
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