The re-introduction of Roman characters about 1500 was due to the famous house of the Estiennes, whose admirable editions of the Latin and Greek classics are the delight of bibliophiles. Robert Estienne was wont to hang proof sheets of his Greek and Latin classics outside his shop, offering a reward to any passer-by who pointed out a misprint or corrupt reading. Their famous house was the meeting-place of scholars and patrons of literature. Francis I. and his sister Margaret of Angouleme, authoress of the Heptameron, were seen there, and legend says that the king was once kept waiting by the scholar-printer while he finished correcting a proof. All the Estienne household, even the children, conversed in Latin, and the very servants are said to have grown used to it. In 1563 Francis I. remitted 30,000 livres of taxes to the printers of Paris, as an act of grace to the professors of an art that seemed rather divine than human. But in spite of royal favour printing was a poor career. The second Henry Estienne, who composed a Greek-Latin lexicon, died in poverty at a hospital in Lyons; the last of the family, the third Robert Estienne, met a similar miserable end at the Hotel Dieu in Paris. So great was the reaction in the university against the violence of the Lutherans and the daring of the printers, that in 1534 all the presses were ordered to be closed. In 1537 no book was allowed to be printed without permission of the Sorbonne, and in 1556 an order was made, it is said at the instance of Diane de Poitiers, that a copy in vellum of every book printed by royal privilege should be deposited at the royal library. After Gering's death the forty presses then working in Paris were reduced to twenty-four, in order that every printer might have sufficient work to live by and not be tempted by poverty to print prohibited books or execute cheap and inferior printing. CHAPTER XI _Francis I.--The Renaissance at Paris_ The advent of the printing-press and the opening of a Greek lectureship by Gregory Tyhernas and Hermonymus of Sparta at the Sorbonne warns us that we are at the end of an epoch. With the accession of Charles VIII. and the beginning of the Italian wars a new era is inaugurated. Gothic architecture had reached its final development and structural perfection, in the flowing lines of the flamboyant style;[99] painting and sculpture, both in subject and expression, assume a new aspect. The diffusion of ancient literature and the discovery of a new world, open wider horizons to men's minds, and human thought and human activity are directed towards other, and not always nobler, ideals. Mediaevalism passes away and Paris begins to clothe herself in a new vesture of stone. [Footnote 99: Flamboyant windows were a natural, technical development of Gothic. The aim of the later builders was to facilitate the draining away of the water which the old mullioned windows used to retain.]