After the participants have divided painting into the three categories, they devote themselves to the freedom of the poetic painting.

Pacheco states in this passage how should be depicted the scene and its characters of “Christ in the wilderness (desert)” (Pacheco 1990, 639). The author mentions also the image made by Jeronimo Nadal, Pablo de Céspedes, and his own artwork as good models to be followed.

Molanus explains the iconography of Virgin Mary trambling the Devil with her feet as the depiction of her life free of sin and her virginity.

Molanus argues that as long as paintings that promote stories or subjects that do not derive from the Scriptures and that neither have been approved by the commentators do not lead to impiety they are allowed.

Molanus argues that artworks of stone, metal and the like are considered statues and can keep the memory of something alive, like Lot’s wife, who was turned into a pillar of salt and can thus be sacred objects.

Molanus defends the custom of using the head of the ruler on coins is allowed, however also religious signs or saints would traditionally be struck on coins.

The topic of the dialogue section is the representation of God.

Concerning the iconography of the Meeting of Anna and Joachim at the Golden Gate, the artists should not depict a kiss between the two saints (an error that follows the idea that the Virgin Mary was conceived by a kiss according to “some ancient little women testimonies”). On the contrary, the artists must represent both embracing each other “with great composure and modesty, which is very decent according to the married Saints”.

Dealing with the story of St. Paul and his meeting with Jesus Christ, who appeared to the saint on the road to Damascus, Pacheco states how both should be depicted.

Molanus rejects the practice of the depiction of a small Jesus, also known as the homunculus, carried by the rays of light of the Holy Spirit and ready to enter Mary’s body during the Annunciation.

Molanus condemns the introduction of elements into paintings that could lead people to sinful behaviour.

Molanus discusses the way St. Bartholomew should be depicted, he urges painters not to follow the words of an apocryphal source.

In November 1571 the Council of the Inquisition sent to different local inquisitions an agreement which banned a series of paintings and prints on the grounds that they might incur false dogmas.

Concerning the journey of the Virgin Mary and Joseph from Nazareth to the mountain of Zacharias’s house, according to Pacheco, Mary didn’t walk but was seated on a small female donkey, with St. Joseph guiding her along the road. That is the way such a scene should be depicted according to the Spanish author.

Molanus argues that images are to the illiterate that what books are to the litterate, therefore they should be treated in a similar way by authorities, thus that what is prohibited for books should also be prohibited for images.

Molanus disapproves of a recently invented way of depicting Christ bearing the cross, which shows two beams fitted with nails hurting him.

Molanus condemns pagan images, like that of Jupiter and Danae, because people can imitate their immoral behaviour.

Molanus criticises the ease with which slander is believed and argues that art can instruct Christians about good moral behaviour, as the Calumny of Apelles demonstrates.

A prisoner, the Frenchman of Béarn Bernard of Ardaca, began to sing French and looking at the wall where a Veronica and the Face of Our Lord Jesus Christ were painted, he went on to destroy the image amidst the exclamations of his cellmates.

Within the Passion of Christ, Pacheco analyses the representation of the crowning of Jesus Christ. Following his study about the crown material, the author states that it was not made by thorns from sea reeds, as were made by artists in that time (not following appropriately the elements of that context).

Molanus argues that angels are suitable decorations for churches.

Molanus argues that the forbidden fruit Adam ate can be depicted both as an apple and a fig because there is no certainty on this and the painter’s choice for either one of them does not constitute a theological statement.

Molanus argues that statues can keep the memory of something alive and can be considered sacred objects.