The scene of the Calvary, almost compulsory in an altarpiece, crowned in Pruit an ensemble of panels devoted to saint Andrew contracted by Joan Gascó in 1521. In addition to this panel there were the central one with the saint's figure and, all around, four more scenes depicting the saint's predication, his trial and martyrdom and one ot his miracles, besides the predella and the dustguards. The Calvary is the only preserved panel. The contract specifies that Jesus had to be accompained by the figures of Mary, John and the Magdalene, who leaves its flask on the ground in order to embrace the feet of the Cruficied, offering a profile very characteristic of this workshop in the period 1520-1529. In these years, the last in the life of Joan Gascó, the familiar workshop assumed many commissions and the elder son, Perot, already had a detached responsability. The figures appear more stylised, closer to the ones that are to be found in his later works. But at the same time the scene design is the result of the combination of two etchings from Albrecht Dürer, from which some features such as the flight of Christ's perizonium or the contradictory attitude of saint John's face and arms come from. This, among others, shows the weight of tradition rooted in the father's painting, Joan Gascó, who was in fact the workshop's head.