The issue of art has always been a very debatable and temping one for many critics and artists. Many talented sculptors and artists have been developing their masterpieces for years in order to gain recognition either during ancient times or way after that until nowadays. As such, the fresco by Masaccio called Holly Trinity is worth paying precise attention to as a skillful work of art by one of the most talented and prolific artists of the fifteenth century. It is necessary to outline that his work presents a great interest due to the number of reasons: it was one of the first frescos to contain features of realism and humanism, the work poses a viewer in front of the characters though a little lower than the Trinity; amazingly, this is only way to place yourself towards the painting. Although it is only a painting on the wall, Masaccio masterfully placed a viewer right at the vanishing point in order to convey that the Holy Trinity is situated above the standpoint which reflects humans’ position within religion back then and nowadays, as well. So, the fresco has an image of the Holy Trinity, the Virgin and Saint John right above the Trinity and the donors. Also, there is a skeleton lying in a tomb at the bottom of the fresco. It symbolizes every person’s overall being and inevitable end. There is a carved inscription that is translated into English as – I once was what you are and what I am you also will be – which is very symbolical within this picture. Only with the help of belief and utmost devotion to God a person could overcome the hardships of human’s life on Earth with dignity and ensure afterlife’s nice existence. This is what a skeleton conveys to the viewer with the Holy Trinity painted above. But what is even more interesting about the masterpiece is that Masaccio managed to create a work that changed understanding and overall perception of the following painters as per the painting art in general. Indeed, it had a transforming influence on many generations of painters from then on. The reason it was so significant was due to the technique. Masaccio painted with a newly percepted volume. The viewer could explicitly understand that the vanishing point is somewhere on the same point as he/she stands at. The vanishing point is behind the Christ, we cannot see it but we understand exactly that all the lines painted come together at one point and that is why the vault with its coffers seems so vivid. Later on Masaccio’s technique of the coffered ceiling was inherited by many artists like Michelangelo, for example. The painting was probably one of those first frescos that showed there can be a volume space in the image. A viewer could distinctly look at the work and feel as if it was a continuation of the surroundings with its own floor and ceiling – not a flat picture. The excitement over the novelty of that volume image was perhaps the same as the emergence of 3D images in the twentieth century. The painter used to trace the geometrical lines in order to create the linear perspective. Some of those lines are still seen nowadays. It is said, however, that Masaccio inherited Brunelleschi’s linear perspective technique. It was a great step forward to show the depth of image and extraordinary involveme