"Sacrifice of Isaac"

Ghiberti divided his scene in half both vertically and diagonally (using the slanted edge of the mountain in the background). To the left, he placed the donkey and the two companions who look at each other, and bear witness to the main scene. At the top of the mountain, Ghiberti places the ram, and at the same level, on the right-hand side, the floating angel points to the ram as if suggesting it as an alternate sacrifice. Whereas Brunelleschi depicted the precise dramatic moment when the angel grabs Abraham's arm, Ghiberti opted to depict the moment just prior to this, when Abraham has the knife pointed at Isaac's throat. Whereas Brunelleschi focused on the tensest moments of the scene, Ghiberti showed restraint and delicacy, with Abraham's arm held back, allowing the viewer to believe that perhaps he is not capable of murdering his own son. At the same time, however, Ghiberti imbues his panel with a sense of movement, as the foreshortened angel flying overhead, and the twisting head of Isaac, create a dynamic sense of action. 

Ghiberti's version of the scene presents Isaac's beautifully rendered nude torso, exemplifying his skill at depicting human anatomy. He also demonstrates his talent for sculpting drapery, as seen, for instance, in Abraham´s clothing, Isaac's robe, and Abraham's beautifully coiffed and curled hair. Considering that the commission came from the Arte di Calimala (Cloth Importers Guild), this attention to the representation of cloth and wool would likely have helped Ghiberti secure the win. But a further practical factor went in Ghiberti's favor. Ghiberti's technique meant that his panel weighed significantly less than Brunelleschi's, which would have translated into significant cost savings. The shrewd Ghiberti also understood that this work would serve as a sort of advertisement for his services, seen on one of the city's most important buildings (the Baptistery). It was thus of the utmost importance that he demonstrated his skill in depicting beauty as a way of appealing to Florence's merchant class. At the same time, Ghiberti's panel appealed to the new Renaissance sensibility in that it featured more natural elements, as well as references to Classical poses, facial expressions, and architectural elements (as seen on the frieze of the altar).