"them to perish, with many others, which he "communicated to no one, not even to his son-in"law Casaubon." (Vid. Bayle, Art. Anacreon, note L.)

Henry's intercourse in Flanders and in England with persons of the Spanish nation, procured him an initiatory acquaintance with the Spanish language; which he afterwards eagerly and successfully improved by a diligent perusal of the best writers. Such then, are the few particulars which we find incidentally recorded concerning Henry's travels in Italy and elsewhere, preparatory to the commencement of his labours in the typographical department. On his return to Paris, at the close of the year 1551, it may be presumed that he found his father Robert preparing to leave his native country.

CHAPTER XXIII.

HENRY

ESTIENNE II. CONTINUED-HIS PROFESSIONAL ESTABLISHMENT AT PARIS-EARLIEST FRUITS OF HIS PRESS-FURTHER TRAVELS-SUBSEQUENT EDITIONS

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NAMED HULDRICHI FUGGERI TYPOGRAPHUS"- -PROCEEDINGS IN THAT CHARACTER-1554-1561.

MAITTAIRE imagines, though as he confesses, on no certain grounds, that Henry Estienne accompanied his father on his removal from Paris to Geneva. But if that was really the case, he soon returned, and established an "Imprimerie." That he entertained the same religious opinions for which Robert had been persecuted, is not to be doubted; nor has he ever been accused of disguising those opinions: yet we hear of no opposition experienced by him from the Sorbonne or from any other quarter, either on his own account, or as resulting from the continuance of that enmity which had been exercised towards his father. We have no evidence that he found himself in any respect involved in the obloquy or disgrace of Robert's clandestine retirement; or that he suffered personal annoyance from any of the charges or reflections, whether unjustly or otherwise, said to

have been cast upon his parent. This may well appear a subject of surprise; but by the scanty particulars of Henry's life and circumstances known at this period, cannot be explained. True it is indeed, that he was not advanced to the dignity of "Typographus regius:" but in the exercise of the typographic profession it can scarce be imagined that he experienced any impediment: forasmuch as we find him printing under the protection of a royal "privilegium," or license, as will be shewn by the first of those impressions, which he gave to the public in his own name.

Maittaire inclines to suppose, that he availed himself merely of a privilege of this kind, which had been granted by king Henry to his father: but comes to such a conclusion solely on the evidence of a passage in Henry's "Apologie pour "Herodote," chap. 22, which requires only to be cited, to evince its complete inconclusiveness as to the point in question. In this chapter having spoken "de la gourmandise & yurongnerie des gens d'eglise," he proceeds thus: "It is said "that they (the theologians) after they are well soaked, agree together like cats and dogs; but "this point I shall leave my readers to determine, "not knowing whether it be true that they come "to blows, when they have drunk freely: but this "I well remember, that the Sorbonists holding "their synagogue at the Bernardins, before they

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"commenced drinking, (so they said at least, and "in reality it was then early in the morning,) "when they had caused me to withdraw, as well

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as my advocate and procureur,' and whilst they proceeded to deliberate what answer it was

proper to give to a letter presented by us, which my late father had obtained from king Henry,

(by which he imposed some command upon "them not much to their liking,) we observed "them in great danger of pulling each other by "the beard, after having fatigued and made "themselves hoarse by dint of screaming. A

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story this, which I should not have dared to "tell, had I been without the testimony of those "two good people, who were much more scanda"lized at such a scene than myself, forasmuch as "I had before heard some little of their gentle pranks." That Maittaire should represent Henry to have rested his authority as a Parisian printer on a license obtained previously by his father, upon the solitary evidence of this jocular story, does not appear very reasonable. But I must now proceed to Henry's typographical operations.

1554. In this year then, and in the twentysixth year of his own age, he gave to the public, from his own press, Anacreon, Gr. Lat. 4to, the earliest, and one of the most finished and beautiful of all his impressions. It is more fully entitled,

Anacreontis Teii Oda, ab Henrico Stephano luce & Latinitate nunc primum donatæ. Lutetiæ, apud Henricum Stephanum, M.D.LIV. ex privilegio Regis. It is executed in the larger royal Greek characters; having a Greek epistle of four pages, two Latin epigrams, and a Greek Anacreontic by Henry, prefixed. To the work are added some fragments of Alcæus and of Sappho. In the notes, he offers his own conjectures concerning some corrupted passages, and shews in what instances Horace has imitated Anacreon and Alcæus. Lastly, he subjoins his own Latin versions, given in correspondent measures, of those odes only which he considers most elegant and uncorrupted. Joseph Scaliger seems to ascribe this Latin version to Joannes Auratus ; but his casual assertion cannot weigh against Henry's own assertions and claims. Helias Andreas, a few months afterwards, published his general version of all the odes of Anacreon, printed with the original Greek by Gulielmus Morel and Robertus Stephanus, the brother of Henry, anno 1556, as we have shewn. As he does not always follow the same readings, his translation sometimes gives a sense which differs from that of Henry, who in his edition of the Lyric poets of 1560, thought proper to specify the conjectures on which his own interpretation was grounded. In the notes to the preceding first edition by Henry,