In 1568, Henry printed _Henrici Stephani annotationes in Sophoclem et Euripidem_, etc., which is evidence that such little matters as the battles of St. Denis and Jarnac were not permitted to interfere with his classical studies any more than with the work of his printing-office. In the next year, he issued another work from his own pen: _Comicorum Græcorum sententiæ, id est Gnomæ, Græce Latinis versibus ab H. Stephano redditæ, et annotationibus illustratæ_. He also completed the publication of a collection of Latin historians. The list of the year includes a number of other titles of which the most important (with reference at least to the personality of Henry) were the two following: _Artis Typographicæ querimonia et Epitaphia typographorum quorundam, per H. Stephanum_. 4to; and _Henrici Stephani epistola de suæ typographiæ statu; Index librorum qui ex ejusdem officina hætenus prodierunt._ 8vo. The former is a lament concerning the degradation of the noble art of typography. An art which had, as he complains, fallen into the hands of the most illiterate of persons, _quibus nihil cum musis commune est_. “What,” he exclaims, “would Aldus Manutius say if, returning to life, he could behold the present miserable condition of the art to which his life was devoted!” He then proceeds to adduce various instances of the gross ignorance and corresponding obstinacy of some of the printers and editors of his time, exemplified by their adulteration of particular passages of classic authors. These quotations are followed by a number of _Latin Elegiacs_ and certain _Epitaphia_, partly in Greek and partly in Latin, which appear to have been included in the volume as evidence that one printer at least, was both a classical scholar and a man of literary capacity. It is doubtful whether the condition of printing throughout Europe at this time afforded any substantial justification for this sweeping complaint of Henry’s. The presses of Plantin were, during these very years, active in Antwerp, although Plantin, like Estienne himself, was contending against manifold difficulties in the task of carrying on an international publishing business in the midst of civil war and political disintegration; and the books produced by Plantin will, not only for the beauty of their typography, but especially for the perfection of the magnificent copper-plate illustrations utilised for many of them, stand favourable comparison with the productions of earlier or later generations. The books issued in Nuremberg during the same decade, by the second of the Kobergers, who had built up the greatest publishing concern that Germany had ever known, can also be specified as excellent examples as well of scholarly editing as of tasteful and accurate typography. It was doubtless the case that in Paris as elsewhere, there were, during the last half of the sixteenth century, examples of scholarly and ignorant editing and of careless and inaccurate typography, but the same may be said of