According to Casaubon, Estienne was in fact a perfect dragon in the close keeping of his books and manuscripts. Speaking of a new book of Camerarius, Casaubon writes to Bongars, “Read it I have not; seen it I have, but it was in the hands of Henry Estienne who would not so much as allow me to touch, much less to read it, while he is every day using or abusing my books as if they were his own.”[33] Pattison goes on to point out, however, that Casaubon exaggerates the facts, when he complains that Estienne would lend him no books, as both with the _Strabo_ and with the _Athenæus_, he derived material assistance from collations which Henry Estienne had made in Italy. Casaubon contributed also to certain of the editions issued by his father-in-law, such as the _Thucydides_ of 1588, the Latin _Dionysius_ of the same year, the _Plinius_ of 1591, and the _Diogenes Laertius_ of 1593. According to his own account, he was, however, jealously excluded from all share in the text and the translation, or from any control of the contents of the volumes, and his contributions appear to have been limited to notes and commentaries. Casaubon appears never to have secured from Estienne the payment of a certain dower, that belonged to or had been promised to his wife, while the portion of the property that finally came to Florence after the settlement of her father’s very meagre estate was but trifling and was, later, more than offset by a claim for which the estate was adjudged to be liable for the re-payment of certain moneys that had been advanced, on the security of the matrices of the famous royal font of Greek type, which had been brought by Robert Estienne from Paris. The business of the House of Estienne was carried on after Henry’s death by his son Paul and his nephews. The publications of these Estiennes of the fourth generation were chiefly, as heretofore, in the division of Greek and Roman classics, and were of a character fairly to maintain the high scholarly standard which had been established. Robert was himself a classicist and a poet, and Maittaire speaks of his literary productions as having secured a good repute. Antoine, the son of Paul, succeeded his father in 1620, and in 1623 was appointed _Imprimeur du Roy_. His son Henry succeeded in 1649 to the latter title. Henry’s work closed about 1659. He left no children, and was the last of the family who devoted himself to the work of printing and publishing, and with his death, therefore, the history of the House comes to an end. During a term of more than a century and a half the Estiennes or Stephani had, as printers, as publishers, and as scholars filled a large place in the literary history of France and of Europe, and I find record of no other family which has contributed to the profession of publishing so many distinctive and distinguished men.