Molanus argues that images of protestant reformers and other heritical figures should be prohibited by authorities.

Molanus affirms that the resurrection of Christ should be depicted with a closed tomb and not with an open as some painters tend to do

Molanus argues that indecent and lascivious art, such as naked Venuses or Satyrs, should be forbidden because they are prostitution to the eye.

Molanus discusses the usefulness of antique images of cities and countries.

Arnau Dandes, a native of France, disbelieved in the image of Mary and of God

The participants have already spoken about grotesques (monstrosities) in advance.

The Passion of Christ iconography was an important topic for Pacheco. The author in this passage analyses the scene of “The procession to Calvary with the cross”, and presented the artwork made by Luis de Vargas as an example of an inadequate manner of depicting Christ: wearing only one tunic, instead of two garments on him, mantle, and skirt (the correct manner).

The position of Mary at the moment of the annunciation is not clearly described in the Scriptures, therefore painters should depict her according to the common opinion on this matter and what seems most probable from the Scriptures.

Molanus affirms that the depiction of Christ on a stone is not an error despite not being derived from the Scriptures.

Molanus argues that because of the large number of saints, it is advisable to write their names as captions in the paintings.

Molanus argues that the Three Graces and their mother have a very long tradition in the Church and attempts to remove them from the litanies should not be tolerated.

Pacheco is very clear: artists should erase forever from their memories what was one time a valid model of depicting Saint Anne, who was seated, with the Virgin Mary and Jesus as a child in her arms, and accompanied by three husbands, three daughters, and many grandchildren.

Depicting St. Philip as a eunuch is inadequate according to Pacheco study of the iconography of the saint. The author states that “there is no foundation for painting the holy Apostle as a eunuch, but as El Mudo [Juan Fernández de Navarrete] painted him in El Escorial, following Raphael: as a venerable old man, eighty-seven years of age”.

Molanus condemns the depiction of the story of Salome since it could provide a false argument for giving beneficiaries to children.

Molanus confirms that the decoration of churches and other sacred places is an old Biblical tradition, however profane decorations are not allowed.

Molanus condemns pagan artworks as idols that need to be abolished but also emphasises that what is allowed in writing is also allowed in art.

Edict of the Holy Office of Mexico describing some cavases that allegedly entered the kingdom and recommending that they be collected so that they do not continue to circulate. The Inquisition express the fear that the images convey Lutheran errors

In this part of the dialogue, the characters discuss the artists of the past.

Molanus criticises a particular type of statue of the Virgin Mary that could be opened up and held an image of the Trinity in this inner compartment. According to him, this creates a wrong illusion about the relationship between Virgin Mary and the Trinity.

Molanus argues that Christ did not kneel for his Father, condemning it as humiliating and a sign of indignity.

Molanus discusses the question of the placement of a saint in an artwork and the assumed correspondence to its position in heaven, but he argues that one should not worry too much about this.

Molanus nuances the usefulness to moral instruction of profane art in comparison to Christian writings and art since they offer much more examples.

Jeanne d’Obaque, from the Béarn area, disbelieving in the image of the crucifix, hit the object several times

After the participants had already limited the poetic licence, now follows the final definition of the licence (at least for poetic painting).