After the participants had already limited the poetic licence, now follows the final definition of the licence (at least for poetic painting).
The iconography of Passion of Christ was an important topic for Pacheco. When the author analysed the scene of “The procession to Calvary with the cross”, he examined the scene in which Simon of Cyrene helps Jesus to carry his cross. It can be depicted in two manners according to the author: Cyrene helping Christ behind him, carrying the end of the Cross; or Jesus Christ would have passed it to the shoulder of Cyrene so that he carried it alone. Pacheco states should not be reprehended if painted in one way or the other.
Molanus argues that the depiction of Mary, Joseph, and the infant Christ during the Flight into Egypt by painters corresponds to historical customs.
Molanus argues that recent paintings of Christ on the Cross in all strength are improbable, since languid is more typical of dying.
Molanus recounts the story of the misidentification of Christ as St. Helper by the believers in Wormer, Holland, to demonstrate the usefulness of writing the saint’s name on the artwork.
Having previously criticised the graceful representation of the body of Christ in the Passion, the participants in the dialogue now offer the artist options in which he can demonstrate his skill, according to the iconography he is trying to represent.
Dealing with the story of St. Christopher, Pacheco analysed how the saint should be depicted. He doubts, according to Molanus studies, about depicting the St. Christopher giant. Pacheco states, following his literature sources, that the saint was tall and with great stature, although not as tall as he is often depicted.
Molanus criticises de common depiction of John the Evangelist as the bridegroom at the wedding feast at Cana, which is not in correspondence with the teachings of the Church.
Molanus affirms that the decoration of altars with images of saints is an ancient tradition and therefore allowed, despite recent critique on this practice.
Molanus counters the critique by protestants on the use of images in the Catholic Church, affirming these are legitimate contrary to the medals of reformers they carry themselves.
The Frenchman Joan de Momas described the saints’ lack of power.
Pacheco states that the circumcision of the Christ-child was made by Virgin Mary. The author afterward declares that the way of painting this scene should be represented from that moment onwards, although he recognises the way of painting it might be seen as new.
Molanus condemns a rather widespread way of depicting the Holy Trinity, namely their representation as one man with three heads or one head with three faces, which would be a monster of nature and a diabolical invention.
Molanus condemns the depiction of Job’s friends as entertainers because in reality they were wise men.
Molanus pleads that the position of saints in painting should not lead to discussion and debate.
Molanus attacks Calvinsts’ claims of the inexistence and thus untruthfulness of the use of images of Fides, Spes, and Charitas.
Diego Gosqui, a Morisco, does not believe in the image of the crucifix declaring ironically that if it had any power, it would rise.
Pacheco warns the reader of his intentions in alerting Christian painters of the correctness with which they should proceed in painting the sacred stories.
The Passion of Christ iconography was an important topic for Pacheco. When the author analysed the scene of the “Resurrection”, among several observations on how to do it, he states the inadequate manners to depict such a scene: the tomb of Christ opened and Christ takes one leg out to get out of it around it, also the terrified guards covering themselves, some with their shields and, behind, reaching for their swords. All these elements should be avoided.
Molanus discusses whether the stones Christ turned into bread were handed by him by the tempter or whether they were on the ground.
Molanus argues that images in which Mary shows her breast to Christ are drawn from the Sermon of St. Bernard. His words have to be understood figuratively and so have to be understood the paintings which are drawn from them.
Molanus argues that painters should follow the ancients and depict persons true to the harmony of their silhouette, size, and colour.