of Chancellor Rolin is lit from both from the central portico and side windows, while the floor-tiles in comparison to other elements shows that the figures are only about six feet from the columned loggia screen, and that Rolin might have had to squeeze himself through the opening to get out that way. The different elements of the cathedral in Madonna in the Church are so specifically detailed, and the elements of Gothic and contemporary architecture so well delineated, that many art and architecture historians have concluded that he must have had enough architectural knowledge to make nuanced distinctions. Given the accuracy of the descriptions, many scholars have tried to link the painting with particular buildings. But in all the buildings in van Eyck's work, the structure is imagined and probably an idealized formation of what he viewed as a perfect architectural space. This can be seen from the many examples of features that would be unlikely in a contemporary church, including the placing of a round arched triforium above a pointed colonnade in the Berlin work. The Marian works are heavily lined with inscriptions. The lettering on the arched throne above Mary in the Ghent Altarpiece is taken from a passage from the Book of Wisdom (7:29): "She is more beautiful than the sun and the army of the stars; compared to the light she is superior. She is truly the reflection of eternal light and a spotless mirror of God". Wording from the same source on the hem of her robe, on the frame of Madonna in the Church and on her dress in Virgin and Child with Canon van der Paele, reads EST ENIM HAEC SPECIOSIOR SOLE ET SUPER OMNEM STELLARUM DISPOSITIONEM. LUCI CONPARATA INVENITUR PRIOR Although inscriptions are present in all of van Eyck's paintings, they are predominant in his Marian paintings, where they seem to serve a number of functions. They breathe life into portraits and give voice to those venerating Mary but also play a functional role; given that contemporary religious works were commissioned for private devotion, the inscriptions may have been intended to be read as an incantation or personalized indulgence prayers. Harbison notes that van Eyck's privately commissioned works are unusually heavily inscribed with prayer, and that the words may have served a similar function to prayer tablets, or more properly "Prayer Wings", as seen in the London Virgin and Child triptych.