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.

Molanus discusses the existence of another category between sacred and pagan art: moral art, which he deems useful to people’s education.

Pedro Padís was convicted because, among other things, he did not believe in the legend of the apparition of the Virigen del Pilar and he would have hit the Pillar that his friend was adoring.

This segment discusses questions on the Holy Trinity based on the case study of Michelangelo’s fresco in the Sistine Chapel, the “Creation of the World”.

Pacheco on the scene about the Immaculate Conception of Mary notes that, although this scene has been depicted with Virgin Mary with Jesus as a Child in her arms, the most correct and common way to do it is to represent such a scene without the Child. She has, instead, her hands in her hands, surrounded by the sun, crowned with stars and the moon at her feet, with the cord of St. Francis around her.

Molanus defies the depiction of the Holy Mary and St.John the Baptist praying at the feet of Christ at the Final Judgement, since it is based on the false assumption of mediating for the dead.

Molanus condemns introducing lasciviousness and infamity in paintings of holy subjects as an act of blasphemy.

Molanus argues that saints and other holy figures should be depicted in the most truthful manner as possibile.

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.

Molanus argues that also in profane art artists do not have full liberty of expression, because natural law prohibits this. Again, the relationship between art and writings is used by the author to make his argument, and he pleads that licentious art should be treated in the same way as licentious or heretical books.

Molanus affirms that the two thieves were attached to the cross in the same way as Christ.

Molanus argues that indecent and lascivious art should be forbidden because its message spreads from the eye to the soul and then corrupts it.

Molanus argues that artworks depicting virtuous persons from antiquity can inspire virtue in Christians nowadays.

A morisco, Gabriel Royo, said that he did not see the donkey, meaning by that the crucifix

In this part of the dialogue, M. Vincenzo further defines the poetic liberty (poetic licence).

The acceptability of paintings based on unestablished narratives depends on their propriety and probability and should be judged by the Church.