Actors of varied provenance yet of higher social rank took positions in ascribing Greek images with roles and values. These activities are traceable in iconography and displays of wall paintings and lead to persons who acted as commissioners, proprietors, donors, and disputants concerned with images that became confessionalized from the moment they appeared in Catholic churches in the Kingdom of Poland. Although it is apparent that pictures had not only users, but also makers – the latter even when captured in records escaped the attention of the discussants until well into the sixteenth century. The concern with images rather than their producers structures this second chapter, which begins with commissioners and ends with painters. In addition to addressing images and persons, at several occasions the inquiry discusses inscriptions focusing on the script. While in Poland, Cyrillic captions of Greek images were frequently doubled in Latin; in Lithuania, where Ruthenian was the dominant written language until the mid-sixteenth century, the Byzantine painting and Cyrillic script stand in contrast rather than parallel. In the late medieval grand duchy Cyrillic was a vernacular script and Byzantine paintings, vernacular imagery. After the country's Catholic conversion, the Cyrillic alphabet and the Ruthenian language preserved their vernacular status, while Greek images were gradually alienated. What is more, the issue of language was exempt from growing disdain towards the Orthodox creed, its followers, and items used in liturgy. Hence, in this part of the book discussion on the confessional character of script pertains only to Polish material.