Henry Estienne associated with his imprint the arms of the University, but he had no exclusive control of such use, as these same arms appear on the title-pages of the publications of one or two of his contemporaries. He appears to have been one of the first of Paris printers to assume a personal responsibility for the typographical accuracy of his texts, and in securing the services of competent scholars as correctors for his Press, he made a practice of adding their names to the title-pages or to the colophons of their editions. This served at once to secure for them the credit of good work and to fix the responsibility for work that did not stand the test of later criticism. Greswell mentions that the celebrated scholar Beatus Rhenanus was at one time discharged by Henry from the post of press corrector, because he had permitted certain errors or oversights to remain in the printed text as passed by him. Henry took the ground that the publishing imprint should stand as a voucher or guarantee for trustworthy work and that every typographical error constituted a stain upon his character as a publisher. Henry died about 1520. The work of his Press was at the outset continued by Colines, who married his widow. Colines gave special attention to the production of impressions of the best Latin classics, and was the first of Paris printers to adopt for these the italic type and the more convenient cabinet or sixteenmo form which had been first utilised by Aldus. Robert Estienne, the most famous printer of his name, owed to his step-father his typographical education, and it must have been largely due also to the influence of Colines that the taste of the young Robert was from the beginning directed to the dissemination of classical literature. The editions of Colines included a very full list of the leading Latin authors, special attention being given (as was the case with nearly all the printers of the first and second generations) to the writings of Cicero. In preparing the works of Cicero for the press, Colines had the advantage of the carefully revised and ably annotated text of Paul Manutius, the son of Aldus. The most important of the works of contemporary writers which bore the imprint of Colines was an edition of the _Colloquies_ of Erasmus, which was issued with the authorisation of the author, by whom it had been carefully revised. The sale and perusal of this book were interdicted by the censor of the Sorbonne, but before it was withdrawn from the market there were printed, according to the account given by Erasmus, no less than twenty-four thousand copies.