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  • On the ornament of painting – The liberty of the istoria



    In contrast to poetic painting, in historical painting, there is almost no freedom.

    Conflict
    Capriccio Decorum Untruthfulness/Not probable/Not corresponding to history
    Mention
    Fabriano, 1564
    Subject
    Crucifixion ; decorum ; historic painting ; ornament of painting
  • A diabolical and profane image of the Holy Trinity depicted with three faces or heads



    While analysing the painting of the Holy Trinity, Pacheco condemned the iconography of it in which a man with three faces or heads is represented, in the manner of Janus or Gerión (Father Martin de Roa), called it as a “diabolical fiction” (Molanus): this iconography made sane people scandalised, as well as the ignorant man commit mistakes.

    Conflict
    Monstrosity/Unacceptable configuration
    Mention
    Seville, 1649
    Subject
    holy trinity
  • Good Thief is painted on Jesus his right hand



    Molanus argues that the good thief has to be placed at the right of Christ.

    Conflict
    Not corresponding to Scriptures Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Crucifixion ; Jesus Christ ; The good thief
  • Images of the Virgin Mary and their importance to popular devotion



    Molanus affirms that the prevalence of certain iconographies is because of their popularity among the common people and that, as long as they do not contain impious elements, there is nothing wrong with this.

  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Artists follow the traditions of depicting Christ, Mary, and Apostles either by studying other paintings or the authorities



    Molanus argues that artists should follow the pictorial tradition set by other artists or study the written sources regarding the subject.

    Conflict
    Visual tradition/Artistic model vs. written tradition/history
    Mention
    Leuven, 1617
    Subject
    Apostles ; Jesus Christ ; Virgin Mary
  • Defamatory playing cards from France

    Catalonia


    Playing cards coming from France, on which there were defamatory figurations of the pope and the church

    Conflict
    Defamation/Derision
    Mention
    Catalonia, 1575
    Subject
    Defamatory playing cards
  • Images destroyed by fire in France

    Béarn


    Conflict
    Lutheran
    Mention
    Aragon, 1589
    Subject
  • Frontispiece of: Gilio, Giovanni Andrea, Due dialogi (1564), Camerino : Antonio Giojoso

    Unapproved sources



    In this part of the dialogue, the participants discuss inadmissible sources that the artist should not use, such as the Infantia Salvatoris or the Acts of Clement. They also instruct the artist not to follow the opinion of the masses, but that of scholars, authoritative and approved authors.

  • How to represent St. George



    Following Molanus’s studies, Pacheco confirms that the saint can be depicted with his armour knight, with the sign of the Cross, the sword, and the spear. Also, in an allegorical representation, painting the saint as a maiden with a lamb, is also possible.

    Conflict
    Mention
    Seville, 1649
    Subject
    St. George
  • Images containing dangerous errors should be banned, such as those depicting the Pope as the Antichrist or the Whore of Babylon



    Molanus reaffirms that in churches no image must be present that could lead to a dangerous error among the uneducated.

    Conflict
    Derision/Blasphemy Heretical image
    Mention
    Leuven, 1617
    Subject
    Antichrist ; Monks ; Pontiff ; Sacaraments ; sheepfold ; Whore of Babylon
  • The Infant Christ should not be depicted naked



    Molanus condemns the artistic practice of depicting the Infant Jesus naked.

    Conflict
    Nudity/Obscenity/Lasciviousness
    Mention
    Leuven, 1617
    Subject
    Infant Christ
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Images of the pagan gods and worldly philosophers are of little use for Christians



    Molanus assesses the usefulness to Christians of images and statues of pagan gods and ancient philosophers and concludes that only in a few cases they are of value.

    Conflict
    Sacred vs. profane imagery
    Mention
    Leuven, 1617
    Subject
    Pagan Gods ; Philosophers
  • The Crucifix is just a stick

    Aragon


    It’s indicated that Juan Guadalid said that the Christians believe in “that” stick because was believed that they worshipped on the crosses that were on the roads, which were made of sticks.

    Conflict
    Morisco
    Mention
    Aragon, 1589
    Subject
    Cross ; Crucifix
  • How to depict the “presentation of the Christ-child in the temple”



    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.

    Conflict
    Mention
    Seville, 1649
    Subject
    presentation of the Christ-child in the temple
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Paintings are living scripture and also of great use to the educated to avoid sins



    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.

    Conflict
    Confirmation of iconographic tradition Sacred vs. profane imagery
    Mention
    Leuven, 1617
    Subject
    Ancient images
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Images with harmless erros can be left in place to avoid unrest among the populace



    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.

    Conflict
    Acceptable errors Not corresponding to Scriptures
    Mention
    Leuven, 1617
    Subject
    Nativity of Virgin Mary ; Passion of Christ
  • Only artworks approved by the Bishop can be placed in churches or other public places



    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.

    Conflict
    Not corresponding to Scriptures Not corresponding with Church teaching/dogma
    Mention
    Leuven, 1617
    Subject
    Approval of paintings by churchly authorities ; St. Mark
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Preserving an image of parents and ancestors is allowed



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

    Conflict
    Iconoclasm/Critic to image cult
    Mention
    Leuven, 1617
    Subject
    Images of parents and ancestors
  • Anna Ynes does not believe in the image of the crucifix

    Aragon


    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.

    Conflict
    Not corresponding with Church rite Offensive
    Mention
    Aragon, 1570
    Subject
    Crucifix
  • The mistake of depicting the Holy Trinity in the Virgin Mary’s womb



    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.”

    Conflict
    Inadequate manner Indecency/Impropriety
    Mention
    Seville, 1649
    Subject
    holy trinity
  • On his way to Jerusalem Saul fell from his horse blinded by the light of Jesus’ appearance



    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.

    Conflict
    Not corresponding to Scriptures Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Saul falls from his horse
  • The depiction of the wounds of Christ



    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.

    Conflict
    Acceptable errors Not corresponding to Scriptures
    Mention
    Leuven, 1617
    Subject
    Christ showing his wounds ; Five holy wounds
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    The depiction of the Virgin Mary



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

    Conflict
    Outer appearance Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Virgin Mary
  • Letter of the Suprema to the inquisitors of the city of Valencia warning of the entry into the kingdom of “pernicious” canvases

    Valencia


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

    Conflict
    Dangerous images
    Mention
    Valencia, October 1571
    Subject
    Curcifix ; Trinity, Passion of Christ
  • Images destroyed by fire in France

    Béarn


    Conflict
    Lutheran
    Mention
    Aragon, 1589
    Subject