1551. “Justini Philosophi et Martyris Opera, Græce.” Folio. Chevillier considers this the most excellent of the Greek impressions of the Estiennes. He contends that, “whether for the accuracy of the text, the superlative beauty of the characters, the excellence of the paper, or the evenness of the impressions, the work of Robert Estienne bore away the palm not only from the other typographers of Paris, but also from the most skilled printers in other countries.” “Robert,” he says, “raised the art to the summit of perfection.”[13] “Rudimenta fidei Christianæ, Græce, nunc primum in lucem edita.” Maittaire (“Vita Stephani”) explains that this is Calvin’s Catechism translated into Greek by the printer’s son Henry. The omission of any reference to Calvin was doubtless due to the desire to avoid arousing fresh indignation at the Sorbonne. It is difficult to understand, however, how a volume of this character could in any case have escaped the vigilance of the censors. “Novum Testamentum, Græce, cum duplici interpretatione Erasmi et veteris interpretis,” etc. Yet another impression of the volume which had already brought upon the publisher the censorship and antagonism of the jealous divines. It contained a few changes from the text of the earlier issues, but the principal peculiarity of the edition is the fact that the text appears for the first time divided into verses, _versiculi_. “Sententiæ Veterum Poetarum per G. Majorem in locos communes digestæ. Antonii Mancinelli de Poetica virtute libellus. Index sententiarum,” etc. 8vo. “Commentarius puerorum de quotidiano sermone, Maturino Corderio, auctore.” 8vo. Cordier was one of the small group of contemporary authors with whose work Robert’s imprint is associated. He was a schoolmaster of Paris, but having adopted the reformed faith, he withdrew to Geneva. “Dionis Nicæi Rerum Romanarum Epitome, Græce, auctore Joan. Xiphilino; ex Bibl. regia, ac. off. R. Stephani, Typogr. regii, regiis typis.” 4to. “Eadem Latine, Gulielmo Blanco Albiensi interprete.” 4to. The _Epitome Dionis_ is the last work printed by Robert in Paris prior to his removal to Geneva. Before giving the titles of the more important issues of his Press in Geneva, it is desirable to go back in the narrative for a few years, and in outlining some of the events in the long contest between the private publisher and the divines of the Sorbonne, to indicate some of the causes which brought about the transfer of the great publishing establishment from Paris, at that time the most noteworthy and possibly the greatest city in Europe, to the quiet little town on Lake Geneva.