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d in the painting serves as a symbol for love and affection while the German armor that Paris is wearing in the painting represents his social status as a knight and his honor. The artist does not dress the goddesses after the antique manner. Cranach's composition featuring the nude was inspired in an attempt to learn from the style of Italian Renaissance.

The Four Apostles by Albrecht Durer in 1526 is a remarkable northern painting that is stylistically influenced by Italian Renaissance. This art piece is unique in that the painter expresses his own religious and political testament, sympathizing 'the protestant cause and [warning] against the dangerous times, when religious, truth, justice, and the virtues all will be threatened.' Unlike other Northern paintings, this piece does contain religious meanings, but it distinguishes itself from Italian paintings by eliminating any glorification of the Church. This piece was hung in the city hall, the four apostles symbolically representing the guardians of the city; they are cautioning people against the sermons of false prophets who will misinterpret the word of God. The four apostles are symbolic representative of various ideas such as the four temperaments, of the human soul, and also the four ages of man. In this painting, Durer's experience of traveling to Italy allows him to harmonize the two opposing styles of northern naturalism and southern monumentality. The realistic visualization of the four apostles reflects the northern naturalism while the monumentality of the figures along with the vivid use of color and sharp lighting mirror the Italian Renaissance. Durer, along with Cranach and Altdorfer, serves as an example of northern artist who illustrated contents related to Protestant-Reformation while incorporating styles of Italian Renaissance into his paintings.

The Netherlands was the exceptional region in North in which Calvinism and Catholicism co-existed. In the late 16th Century, the Northern Netherlands was able to break away from Spain's influence, while the Southern Netherlands remained under the rule of Spain. Therefore, the Northern Netherlands eventually embraced Calvinism while the Southern Netherlands remained as supporters of Catholicism. It is important to realize that Dutch and Flemings were not predestined to become Calvinists and Catholics; it was solely caused by the geographical and military circumstances. No curtain existed between the North and the South that forbid the exchange of ideas. In fact, Constantin Huygens, a diplomat and an art critic, referred to great painters of Amsterdam, Utrecht, and The Hague collectively as the painters of Netherlands. Therefore, it cannot be concluded that the Northern Netherlands was only influenced by Calvinist ideas, which also applies to the Southern Netherlands.

In the early 17th Century Catholicism was suppressed and catholic churches were demolished due to the iconoclast movement, but the protestantizing of the Northern Netherlands was still a slow process. Most artists chose to remain as Catholics, although exact number is hard to determine. However, the attempt to repair damage caused by the iconoclast movement was not as extensive and as systematic in the North as in the South. The Northern Renaissance in the Netherlands took on a completely different form from the Italian Renaissance because the Church no longer was the major patron in the North. Instead, the wealthy merchan本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。