Both were true to their religion.

Erasmus saw in his faith the return to the pure teachings of Christ and the liberation of the human soul from ancient fetters; Wolf, who had had them pointed out to him at school by a Protestant teacher, by no means denied the abuses that had crept into his, but he clung with warm love to Holy Church, which offered his soul an abundance of what it needed.
His art certainly also owed to her its best development--from the inexhaustible spring of faith which is formed from thousands of rivulets and tributaries in the holy domain of the Catholic Church, and in it alone, the most sublime of all material flowed to the musician, and not to him only, but to the artist, the architect, and the sculptor.

The fullest stream--he was well aware of it--came from ancient pagan times, but from whatever sources the spring was fed, the Church had understood how to assimilate, preserve, and sanctify it.
Erasmus listened silently while Wolf eagerly made these statements; but when the latter closed with the declaration that the evangelical faith would never attain the same power of elevating hearts, he interrupted the knight with the exclamation, "We shall have to wait for that!" Luther, he went on, had given the most powerful encouragement to music, and the German Protestant composers even now were not so very far behind the Netherland ones.

The Catholic Church could no longer claim the great Albrecht Durer, and, if art ceased to create images of the saints, with which the childish minds of the common people practised idolatry, so much the better.

The Infinite and Eternal was no subject for the artist.
The humanization of God only belittled his infinite and illimitable nature.