restoration work on the combined whole during 1950–1954. Charles de Tolnay believed that the lower part of the fresco did not match the upper part in terms of style. Other experts assumed later changes in part of the painting or the loss of some parts, which creates the impression of fragmentation. However, many of the altar tabernacles of subsequent years by Donatello, Desiderio da Settignano, Michelozzo di Bartolomeo and many other artists were made under the influence of Masaccio's composition. Description Dimensions The painting is approximately 317 cm (125 in) wide, and 667 cm (263 in) high. This gives an overall vertical-to-horizontal proportion of about 2:1. The ratio between the upper and lower sections of the work is very roughly 3:1. Altar Originally, the design included an actual ledge, used as an altar, physically projecting outward from the now-blank band between the upper and lower sections of the fresco; further enhancing the sense of depth and reality in the work. Constructed as a pillared-shelf ~5 ft. above the floor, and estimated to be about 60 cm. wide, the altar-table's appearance would have been intended to match and/or complement the painted architecture. Its facing-edge and upper surface integrating with the fresco's steps and archway; and its supporting pillars, both real and illusory, combining with the shadows caused by the over-hang to create a crypt-like effect for the tomb beneath. The upper section of the fresco still retains traces of candle-smoke and heat-effects from use of this altar. Figures The painted figures are roughly life-sized. For an adult of average height facing the painting, the line of sight would have been slightly above 'ground-level' in the work; with Death in the form of the crypt and skeleton directly front of them, and the promise of Salvation above. The architectural details painted on the wall (cornice, archivolts of arches, capitals) are brightly painted. The figures of the donors are located at the level of the viewer’s horizon and they are depicted from the perspective from below, and then, rising, the figures increase in size, according to their symbolic meaning, at the same time, as it were, moving deeper into the space of an imaginary chapel, the coffered vault of which is given in a strong perspective from below. The sarcophagus with the skeleton, although it occupies the lower part of the composition, on the contrary, is visible from above, as if located in