Mary and Gabriel are disproportionately large in relation to the scale of the rooms they occupy. Art historians agree that this follows the conventions of both the International Gothic and late Byzantine traditions of the icon by showing saints, especially Mary, in a much larger scale than their surroundings. In this instance their size is probably a device to convey the idea that they are heavenly apparitions who have come momentarily before the donors who are in the lower register. Van Eyck used this conceit most dramatically in his "Madonna in the Church", (c. 1438–40) which is likely a panel from a dismantled diptych.