Sculpture was of great importance in the development of Renaissance art, of which two men, Bruneleschi and Ghilberti were major contributors (Great Artists of the Italian Renaissance, Page 38, and Lecture 3). There was a competition that was open for artists to enter to design a panel for the north entrance to the Baptistry (which had three entrances). There were seven entrants in the competition and the two final contestants were Brunelleschi and Ghiberti. In Brunelleschi's depiction of Isaac and the characters and scenes surrounding him, there is an abruptness of an angel rushing in to grab Abraham's arm as Brunelleschi depicts a raw brutality when Abraham grabs Isaac around the throat, his head thrown back as he attempts to use the knife to kill him. Ghiberti's panel, on the other hand, was more suave, more carefully balanced, less crowded, more idealized (none in the Brunelleschi), and more beautiful. The Isaac portrayed, even though small, was one of the first nude renaissance figures. Ghilberti's drama is less immediate than Bru, but it is more legible which is of great importance in this small scene, and in the other panels. It is easier to read on the doors from some distance. (Great Artists of the Italian Renaissance, Lecture 3). Ghiberti won the competition and worked on the door for a quarter of a century from 1403 to 1424. Out of this he was commissioned to do the south doors, without competition. It is understandable why it took so long to complete these doors as the work was not only tedious but the detail that had to be put into each panel for each story had to take great, consuming concentration to create such detail. You can see the features of the individuals, as well as the surrounding scenery in each panel which is read from left to right. The panels contact scenes from Genesis to Creation to their expulsion, Cain and Abel, Noah, Abraham, Jacob, Moses, Joshua, David and Solomon are portrayed on these pa