"But my love was towards painting, much more than towards the goldsmith's craft. When at last I told my father of my inclination, he was not well pleased, thinking of the time I had been under him as lost if I turned painter. But he left me to have my will; and in the year 1486, on St. Andrew's Day, he settled me apprentice with Michael Wohlgemuth, to serve him for three years. In that time God gave me diligence to learn well, in spite of the pains I had to suffer from the other young men." Thus Dürer describes his change in life, and the embarkation on his true vocation, as well as the reluctance of the elder Albert to allow his noble and beloved boy to pass out from his desolated household into other scenes, and away from his companionship. Wohlgemuth was one of the early religious painters who stood at the transition-point between the school of Cologne and that of the Van Eycks, or between the old pietistic traditions of Byzantine art and the new ideas of the art of the Northern Reformation. The conventionalisms of the Rhenish and Franconian paintings were being exchanged for a fresher originality and a truer realism; and the pictures of this time curiously blended the old and the new. Wohlgemuth seems to have considered art as a money-getting trade rather than a high vocation, and his workroom was more a shop than a studio. He turned out countless Madonnas and other religious subjects for churches and chance purchasers, and also painted chests and carved and colored images of the saints, many of which were executed by his apprentices. A few of his works, however, were done with great care and delicacy, and show a worthy degree of sweetness and simplicity. Evidently the young pupil gained little besides a technical knowledge of painting from this master,--the mechanical processes, the modes of mixing and applying colors, the chemistry of pigments, and a certain facility in using them. It was well that the influences about him were not powerful enough to warp his pure and original genius into servile imitations of decadent methods. His hands were taught dexterity; and his mind was left to pursue its own lofty course, and use them as its skilful allies in the new conquests of art. Wood-engraving was also carried on in Wohlgemuth's studio, and it is probable that Dürer here learned the rudiments of this branch of art, which he afterwards carried to so high a perfection. Some writers maintain that his earliest works in this line were done for the famous "Nuremberg Chronicle," which was published in 1493 by Wohlgemuth and Pleydenwurf.