Records indicate he traveled to Venice, Cephalonia, and Zakynthos His style resembled the Cretan school.

The priest of the church San Giorgio dei Greci was painter Philotheos Skoufos.

In 1657, another artist named Ioannis Moskos was married at the San Giorgio dei Greci.

[1] To date, there are no records linking Leos and Ioannis Moskos but a familial relationship is possible.

On September 30, 1664, there is an agreement between the commissioners of the church of the Ascension in Lixouri and Leo to paint 13 icons.

Namely, a large icon of the Ascension, two Archangels at the pulpits, and Christ.

The painter's fee was set at 150 realia and the time of completion of the work was May 1665.

Recall, Elias Moskos was an active painter in Zakynthos around this period.

Around this time, Moskos made an agreement to teach Panagiotis Doxaras's painting in Zakynthos.

[1] Another theory is that the contract was made up in Zakynthos but Panagiotis Doxaras might have traveled to Venice.

He was recorded in the wedding book as Leo Mosko of Rethimno marrying Zanetta Trivisana from Padua.

Book VII of the Minutes of its assemblies recorded the famous painter offering a painting of the Presentation of the Virgin.

Christian denominations consider the Second Coming of Christ to be the final and infinite judgment by God.

There is no indication that Georgios Klontzas visited the Sistine Chapel but it is a possibility.

His work is not identical to Georgios Klontzas but the two paintings are closely similar.

It resembles Klontzas In Thee Rejoiceth because the heavenly hierarchy extends outwards.

Instruments are featured and the book life is opened, similar to Michelangelo's Last Judgment.

To the left of hell are saints, church clergy, and chosen nobles.

Theodore Poulakis also employs similar wolflike demonic creatures in his work resembling Klontzas.