In 1522, Robert Estienne of Paris, working as the assistant of his stepfather Colines, undertook the preparation of an edition in Latin of the New Testament. The text followed, in the main, the version of the Vulgate, but the youthful editor found occasion for certain corrections. The textual changes ventured upon at once called forth criticism from the divines of the Sorbonne, and Robert found himself classed with the group of heretical persons. It appears from his correspondence that he held himself ready to justify on critical grounds the corrections that he had ventured to make in the text of the Vulgate. The divines, while continuing their invectives, took pains to avoid any direct controversy on the points at issue.[5] In 1540, Robert was brought into special jeopardy through an impression of the Decalogue executed in large characters and printed in the form of a hanging map for placing on the walls of schoolrooms. Such an undertaking seems to our present understanding innocent enough, whether considered from a Romanist or a Protestant point of view, but in this publication of the Ten Commandments, the divines discovered little less mischief than in the heresies of Luther. The censors caused to be put into print a counter-impression of the Decalogue in which the first two commandments were combined into one, with the omission of the prohibition of making and worshipping images, while the tenth commandment was divided into two in order to make up the complete number. During the same year, various proceedings were taken against Estienne on the part of the Sorbonne, and on more than one occasion he was compelled to leave his home and to betake himself for safety to the King’s court. The fact that a publisher, in order to protect himself against the violence of officials who were (at least nominally) the King’s censors, should take refuge at court, throws a curious light on both the strength and the weakness of the Crown. With all the authority of the kingdom at his command, Francis was evidently unable to control the operations of the ecclesiastical censors who, in their dogmatic and unruly zeal, did what was in their power to throw the influence of the university against the literary development of France and Europe. On the other hand, the doctors of the Sorbonne, although backed by the authority of Rome, were not strong enough, at least for a number of years, to put a stop to the publication in Catholic Paris of works stigmatised by them as dangerously heretical.