Ten years after the decree Paolo Veronese was summoned by the Inquisition to explain why his Last Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Inquisition: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast.[12] Veronese was told that he must change his painting within a three-month period – in fact he just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.[13] But the number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus (De Picturis et Imaginibus Sacris, pro vero earum usu contra abusus ("Treatise on Sacred Images"), 1570), Cardinal Federico Borromeo (De Pictura Sacra) and Cardinal Gabriele Paleotti (Discorso, 1582), and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. One of the earliest of these, Degli Errori dei Pittori (1564), by the Dominican theologian Andrea Gilio da Fabriano, joined the chorus of criticism of Michelangelo's Last Judgement and defended the devout and simple nature of much medieval imagery.