And Abraham stretched forth his hand, and took the knife to slay his son.
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Ambrose of Milan
AD 397
The hand of a father lifted the knife over his own son, and, lest the sentence fail of execution, in his paternal love he was in the act of striking the blow. He was afraid the stroke would miss, that his right hand would weaken. He felt as a father would, but he did not shrink from his duty to God. On His Brother, Satyrus
If someone of us desired to see the story of Abraham portrayed in a picture, how would the painter represent him? Would he do it in a single painting showing him doing all the things mentioned, or in successive pictures and distinctively, or in different images, but most often Abraham himself, for example, in one picture sitting on his donkey taking his son along and followed by his servants? In another one, again, with the donkey staying behind down below along with the servants, and Isaac being burdened with the wood while Abraham holds in his hands the knife and the fire? And, indeed, in a different painting, Abraham again in a different pose after he has bound the youth upon the wood and his right hand is armed with a sword in order that he might start the sacrifice? But this would not be a different Abraham each time, although he is seen most of the time in a different pose. It would be the same man in every instance with the skill of the artist continually disposing him according...
To sacrifice; a thing hitherto unprecedented, and which God would never suffer to be done in his honour, though he was pleased to try the obedience of his servant so far. The pagans afterwards took occasion, perhaps, from this history, to suppose, that human victims would be the most agreeable to their false deities: (Calmet) but in this misconception they were inexcusable, since God prevented the sacrifice from being really offered to him, in the most earnest manner, saying, Abraham, Abraham, as if there were danger lest the holy man should not hear the first call. (Haydock)
