This beautiful canvas, almost certainly part of a series of Apostles, constitutes one of the most evocative and sincere proofs of the Reggio painter in the field of half-figure paintings intended for private collecting and can be compared with the San Giovanni Battista of the Civic Museum of Modena which similarly, he transfers a feeling of strong humanity to the sacred character. Alongside the mythological or biblical compositions set on the proscenium of a sumptuous baroque theater that achieved so much success among contemporaries, it is also works like these that reveal the deepest aspects of his production. His naturalistic inclinations came to him from the painters active in the Ghiara basilica in Reggio Emilia, fundamental for his training. In this phase of intense experimentation, the narrative accent of his painting, which has its roots in the powerful and jutting body of Tiarini and Bononi, is enriched by the knowledge of the Caravaggesque language, surprising by an Emilian painter for whom he is not documented a trip to Rome, but which explains, in this Sant'Andrea, the close cut if the party of light and shadow that crosses the bottom plane and vividly embosses the face of the saint.