Fortunately he sought refuge in the house of
an honest artist, Van Zwaanenberg, who was acquainted with his
father.
'Tell me, Paul,' asked his friend, 'what do you mean to do with
yourself, if you will not be either a priest or a miller? They are
both honourable professions: one gives food to the soul, the other
prepares it for the body.'
'Very likely,' replied the boy; 'but I don't fancy either; for in
order to be a priest, one must learn Latin; and to be a miller, one
must bear to be beaten. How do _you_ earn your bread?'
'You know very well I am a painter.'
'Then I will be one too, Herr Zwaanenberg; and if you will go
to-morrow and tell my father so, you will do me a great service.'
The good-natured artist willingly undertook the mission, and
acquainted the old miller with his son's resolution.
'I want to know one thing,' said Master Rembrandt; 'will he be able
to gain a livelihood by painting?'
'Certainly, and perhaps make a fortune.'
'Then if you will teach him, I consent.'
Thus Paul became the pupil of Van Zwaanenberg, and made rapid
progress in the elementary parts of his profession. Impatient to
produce some finished work, he did not give himself time to acquire
purity of style, but astonished his master by his precocious skill
in grouping figures, and producing marvellous effects of light and
shade. The first lessons which he took in perspective having wearied
him, he thought of a shorter method, and _invented_ perspective for
himself.
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