Among the judges was that Florentine banker whose name was beginning to be known in the city as a synonym for philanthropy, enlightenment, and sagacity, Giovanni de' Medici.

In 1401 the specimens were ready, and after much deliberation as to which was the better, Ghiberti's or Brunelleschi's--assisted, some say, by Brunelleschi's own advice in favour of his rival--the award was given to Ghiberti, and he was instructed to proceed with his task; while Brunelleschi, as we have seen, being a man of determined ambition, left for Rome to study architecture, having made up his mind to be second to no one in whichever of the arts and crafts he decided to pursue.

Here then was the first result of the competition--that it turned Brunelleschi to architecture.
Ghiberti began seriously in 1408 and continued till 1424, when the doors were finished; but, in order to carry out the work, he required assistance in casting and so forth, and for that purpose engaged among others a sculptor named Donatello (born in 1386), a younger sculptor named Luca della Robbia (born in 1400), and a gigantic young painter called Masaccio (born in 1401), each of whom was destined, taking fire no doubt from Ghiberti and his fine free way, to be a powerful innovator--Donatello (apart from other and rarer achievements) being the first sculptor since antiquity to place a statue on a pedestal around which observers could walk; Masaccio being the first painter to make pictures in the modern use of the term, with men and women of flesh and blood in them, as distinguished from decorative saints, and to be by example the instructor of all the greatest masters, from his pupil Lippo Lippi to Leonardo and Michelangelo; and Luca della Robbia being the inspired discoverer of an inexpensive means of glazing terra-cotta so that his beautiful and radiant Madonnas could be brought within the purchasing means of the poorest congregation in Italy.

These alone are remarkable enough results, but when we recollect also that Brunelleschi's defeat led to the building of the cathedral dome, the significance of the event becomes the more extraordinary.
The doors, as I say, were finished in 1424, after twenty-one years' labour, and the Signoria left the Palazzo Vecchio in procession to see their installation.

In the number and shape of the panels Pisano set the standard, but Ghiberti's work resembled that of his predecessor very little in other ways, for he had a mind of domestic sweetness without austerity and he was interested in making everything as easy and fluid and beautiful as might be.