removed the statue and burnt it. Prosecuted for blasphemy, she paid a small fine without complaint, but flatly refused to pay the additional sum the court ordered be paid to the convent to replace the statue, putting her at risk of serious penalties. Zwingli's letter advised trying to pay the nuns a larger sum on condition they did not replace the statue, but the eventual outcome is unknown. By the end of his life, after iconoclastic shows of force became a feature of the early phases of the French Wars of Religion, even Calvin became alarmed and criticised them, realizing that they had become counter-productive. Subjects prominent in Catholic art other than Jesus and events in the Bible, such as Mary and saints were given much less emphasis or disapproved of in Protestant theology. As a result, in much of northern Europe, the Church virtually ceased to commission figurative art, placing the dictation of content entirely in the hands of the artists and lay consumers. Calvinism even objected to non-religious funerary art, such as the heraldry and effigies beloved of the Renaissance rich. Where there was religious art, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Narrative scenes from the Bible, especially as book illustrations and prints, and, later, moralistic depictions of modern life were preferred. Both Cranachs painted allegorical scenes setting out Lutheran doctrines, in particular a series on Law and Gospel. Daniel Hisgen, a German Rococo painter of the 18th century in Upper Hesse, specialized in cycles of biblical paintings decorating the front of the gallery parapet in Lutheran churches with an upper gallery, a less prominent position that satisfied Lutheran scruples. Wooden organ cases were also often painted with similar scenes to those in Catholic churches. Lutherans strongly defended their existing sacred art from a new wave of Calvinist-on-Lutheran iconoclasm in the second half of the century, as Calvinist rulers or city authorities attempted to impose their will on Lutheran populations in the "Second Reformation" of about 1560–1619. Against the Reformed, Lutherans exclaimed: "You black Calvinist, you give permission to smash our pictures and hack our crosses; we are going to smash you and your Calvinist priests in return". The Beeldenstorm, a large and very disorderly wave of Calvinist mob destruction of Catholic images and church fittings that spread through the Low Countries in the