By the last quarter of the century there was a large demand for woodcuts for book-illustrations, and in both Germany and Italy standards at the top end of the market improved considerably. Nuremberg was the largest centre of German publishing, and Michael Wolgemut, the master of the largest workshop there worked on many projects, including the gigantic Nuremberg Chronicle. Albrecht Dürer was apprenticed to Wolgemut during the early stages of the project, and was the godson of Anton Koberger, its printer and publisher. Dürer's career was to take the art of the woodcut to its highest development.