Using one artwork made by Jeronimo Nadal and one painted by Mase Pedro Campaña as examples, Pacheco analysed how to represent the story about the presentation of the Christ-child in the temple.

Molanus discusses another time the usefulness of ancient images to those who have fallen into sin or who run the risk of doing so, this is also true for the educated.

Molanus comments on iconographies which are derived from apocryphal sources, in particular those which are well spread among the populace. His stance on this matter is rather balanced: as long as the artworks do not contain any dangerous errors and they have been approved by the regional authority, they do not have to be taken away from their respective locations so that common people could not be disturbed by such actions.

Molanus reaffirms the viewpoints of the Council of Trent that only artworks approved by churchly authorities should be allowed to decorate churches; he illuminates this with an example of St. Mark.

Molanus defends the use of images of parents and other ancestors.

The Old Christian Anna Ynes called “christianellos” the people who have in their ceremony the crucifix close to the bed when is given to the sick the extreme unction.

Pacheco desaproved the painting of the Holy Trinity in the Virgin Mary’s womb since such composition seems as “if all the three divine Persons had clothed themselves in our flesh.”

Molanus argues that in the story of the Conversion of Saul it is very likely that he was riding a horse, as is often depicted by painters, despite the lack of reference to this in the Scriptures.

Molanus argues that the depiction of Christ’s wounds is incorrect and the prevalence of these paintings is the popularity among the commoners, however, it does not constitute a dangerous error.

Molanus refers to Epiphanius for the correct depiction of the Virgin Mary: as a humble and graceful woman.

Letter from the Suprema to the inquisitors of the city of Valencia warning of the entry into the kingdom of “pernicious” canvases.

Pacheco states that Mary must be depicted decently in her Betrothal scene. The artist Don Luis Pascual was criticised by the Spanish author, whose painting shows a Virgin Mary not dressed “appropriately in correspondence to Her greatness and importance”. The reason for such criticism is because the artist depicted her without a mantle, “with a large Venetian skirt very tucked into the waist, full of many bows of colored ribbons and with large sleeves”. (Pacceho 1990, book 3, ch.12, 591-592)

Molanus condemns the use of Almanacks since they display dangerous images and false doctrines

Molanus calls for the prohibition of sacred and profane paintings that deliberately discuss, recount or teach indecent or obscene matters, like is the case for books.

Molanus condemns and ridicules the pagan gods and names several of them: Vulcan, Apollo, Saturn, Diana, Mercury, Pan, June, and Neptune.

Juan de la Fuente affirmed that for testing the power of the saint – that is, to believe in “those stick saints” – the person should take the object to a river and if the saint went upriver he could well believe in him, and if not “he was a piece of the stick”.

Pacheco when analysing the scenes about the flight into Egypt and the return from there, observes that the artists did not pay attention to some elements concerning these two different moments, mainly concerning the passage of time and the different ages of Christ as a child in such scenes.

Pacheco when analysing the scenes about the flight into Egypt and the return from there, observes that the artists did not pay attention to some elements concerning these two different moments, mainly concerning the passage of time and the different ages of Christ as a child in such scenes.

Molanus argues that paintings are the visual reproduction of a written story, therefore they should receive the same devotion while venerated as the texts themselves.

Molanus argues that, despite the lack of reference in the Scripture, depicting Joseph with an axe does not pose an error.

Molanus calls for caution from artists in the depiction of death since nothing is more uncertain than the moment one passes away.

Molanus discusses attributes, like crowns, halos and the like in the depictions of saints, they represent the four cardinal virtues.

The Portuguese Rodrigo de Velasco was denounced by a prison companion