It would be difficult to describe old Rembrandt’s disappointment.  Slowly, reluctantly, and one by one, he drew forth the 100 florins from his strong-box.  Paul took them, and with small show of gratitude, returned to Amsterdam.  In a short time his fame became established as the greatest and most original of living artists.  He had a host of imitators, but all failed miserably in their attempts at reproducing his marvellous effects of light and shade.  Yet Rembrandt prized the gold which flowed into him far more than the glory.  While mingling the colours which were to flash out on his canvas in real living light, he thought but of his dingy coffers.

When in possession of a yearly income equal to L.2000 sterling, he would not permit the agent who collected his rents to bring them in from the country to Amsterdam, lest he should be obliged to invite him to dinner.  He preferred setting out on a fine day, and going himself to the agent’s house.  In this way he saved two dinners—­the one which he got, and the one, he avoided giving.  ’So that’s well managed!’ he used to say.

This sordid disposition often exposed him to practical jokes from his pupils; but he possessed a quiet temper, and was not easily annoyed.  One day a rich citizen came in, and asked him the price of a certain picture.

‘Two hundred florins,’ said Rembrandt.

‘Agreed,’ said his visitor.  ’I will pay you to-morrow, when I send for the picture.’

About an hour afterwards a letter was handed to the painter.  Its contents were as follow:  ’MASTER REMBRANDT—­During your absence a few days since, I saw in your studio a picture representing an old woman churning butter.  I was enchanted with it; and if you will let me purchase it for 300 florins, I pray you to bring it to my house, and be my guest for the day.’  The letter was signed with some fictitious name, and bore the address of a village several leagues distant from Amsterdam.

Tempted by the additional 100 florins, and caring little for breaking his engagement, Rembrandt set out early next morning with his picture.  He walked for four hours without finding his obliging correspondent, and at length, worn out with fatigue, he returned home.  He found the citizen in his studio, waiting for the picture.  As Rembrandt, however, did not despair of finding the man of the 300 florins, and as a falsehood troubled but little his blunted conscience, he said:  ’Alas! an accident has happened to the picture; the canvas was injured, and I felt so vexed that I threw it into the fire.  Two hundred florins gone!  However, it will be my loss, not yours, for I will paint another precisely similar, and it shall be ready for you by this time to-morrow.’

‘I am sorry,’ replied the amateur, ’but it was the picture you have burned which I wished to have; and as that is gone, I shall not trouble you to paint another.’

So he departed, and Rembrandt shortly afterwards received a second letter to the following effect:  ’MASTER REMBRANDT—­You have broken your engagement, told a falsehood, wearied yourself to death, and lost the sale of your picture—­all by listening to the dictates of avarice.  Let this lesson be a warning to you in future.’