ttacks of earnest argument, closely but carefully enforced, had in some
degree shaken him, that he would turn a willing ear to his wishes. Once
having done this, and become fully aware of the strength of his son's
hopes, and the eagerness of his aspirations, the elder Duerer changed his
whole conduct, and with laudable zeal sought the best artist by whom his
son should be instructed. There were always many in Nuernberg, but none
had better reputation than Michael Wohlgemuth; he also was an earnest,
busy man, constantly employed in many branches of his profession,
possessing in fact a great deal of the trading spirit, and therefore he
was the man with whom Duerer would most desire to see his son studying.
It was ultimately arranged that the young Albert should be bound to him
for the term of three years to learn the art of painting.

[Illustration: Fig. 231.--Michael Wohlgemuth.]

Wohlgemuth was at this period in the full vigour of his life, and was
performing an abundance of labour; he painted pictures, he furnished
designs for goldsmiths and artisans, he illustrated books, and was a
thriving and prosperous man. His works would not delight any eye now as
they once charmed the Nuernbergers. They are essentially stiff and hard,
exhibiting the exaggeration of form and attitude which makes early art
look grotesque: he was fond of stern drawing, and generally painted a
firm black outline to his figures, which has a very harsh effect. His
colouring is equally positive, and his saints are generally arrayed in
prismatic tints, relieved by the gold backgrounds which prevailed so
constantly in early art. His portrait painted by Duerer at a later period
of his life, is characteristic of the man. It is now in the Pinacothek
at Munich, and has been well described by Dr. Kuegler, as delineating "a
strangely sharp, bony, and severe countenance." Wohlgemuth was born at
Nuernberg in 1434, and died in 1519. His native city still contains some
of his best works, particularly in the Moritzkapelle, that sacred
resting-place of quaint old art, thus religiously preserved for an age
which brings to it few worshippers. It is but justice, however, to one
who was great in his own day, to observe that he occasionally rises
above the level of the bald style above indicated; and the eminent
writer we have just now quoted, observes,--"whenever tranquil feeling is
to be shown, he then exhibits many indications of a sense for grace in
form, and tendern