Morrhius, writing in 1531 to Erasmus, says: “There are even within the precincts of this college [the Sorbonne] those who wish well to you, but they are obliged to whisper, fearing to declare in public their real sentiments, to such a pitch has tyranny attained here. Your friends rejoice exceedingly that you have replied with so much moderation to the _Determinationes_ of our divines, for they were afraid you would have branded the whole Faculty with a stigma that would have marked them to posterity, which you would have certainly been justified in doing.” It is apparent from this and from many similar references that Erasmus was obliged to carry on contentions, so to speak, with both hands. On the one side, he was bitterly assailed by Lutherans no less than by Calvinists for failing to support with his talents, his learning, and his world-wide influence the cause of the Protestants. On the other side, the divines of the Roman Church stigmatised as a dangerous heretic a man who insisted that the writings of the Fathers, and even the Roman versions of the Scriptures themselves, must be subjected to critical analysis and to textual corrections, and that not a few of the _dicta_, which had been made the basis of doctrines called authoritative, were either fraudulent interpolations in the original texts, or were the result of the glosses and blunders of incompetent copyists. Vascosanus, who was a son-in-law of Badius, continued the work of printing classic texts, and won repute for the beauty and correctness of his editions. He interested himself particularly in the production of the works of Cicero, printed in quarto with commentaries. The writings of Cicero were, as we shall note, very largely favoured by the publishers of the first century of printing. The only important contemporary author with whose work the imprint of Vascosanus is associated, was Budæus, for whom he published an edition of the treatise _De Asse et ejus Partibus_. The device adopted by Vascosanus was a fountain, delineated, according to Maittaire’s description, with artistic ornaments, and surrounded by the motto, ἐν βιβλίοισ ῥέει ἡ Σοφίας πηγὴ.[4] From 1566 to 1576, Vascosanus was _Typographus Regius_. The great typographer, Frederic Morel, was one of his grandsons. Without undertaking to give in detail the list of the printer-publishers who are recorded by Maittaire and Greswell as having rendered honourable service during this period in the production in Paris of scholarly Latin and Greek texts, I will proceed at once to the record of Robert Estienne, whose work was of first importance for France and for Europe, and who is to be ranked with the great printer-publishers of the world.