(My Hans has painted on an ivory panel a slumbering boy, looking like a reposing Cupid; I see him, I am astonished, I regard him as Charintus, whom my heart loves most warmly; I approach burning with passion, yet as I kiss him, it is only a semblance.) All traces of this miniature, which Bourbon extols so highly, have disappeared. Two other laudatory references to Holbein occur in the _Nugae_. In the 1538 edition, which was published in Lyon in the same year as the “Dance of Death” cuts and the Old Testament illustrations, the following lines have reference to the former designs: “_De morte picta a Hanso pictore nobili._ Dum mortis Hansus pictor imaginem exprimit, Tanta arte mortem retulit, ut mors vivere Videatur ipsa: et ipse se immortalibus Parem Diis fecerit operis huius gloria.” (On the picture of Death by the noble painter Hans. Painter Hans has expressed the image of Death with so much art, that Death himself now seems a living being, and he by the glory of his work has made himself the compeer of the immortal gods.) [Sidenote: NICOLAS BOURBON AND HOLBEIN] These verses read as though they were written to accompany the first edition of the “Dance of Death” woodcuts, but for some reason were never used. They are interesting, too, as containing the only contemporary reference to Holbein as the actual designer of the series. In the same edition occur the following lines: “Videre qui vult Parrhasium cum Zeuxide, Accersat a Britannia Hansum Ulbium et Georgium Reperdium Lugduno ab urbe Galliae.” which may be paraphrased as—“Whoever wishes to see the painter equal to Parrhasius or Zeuxis must call Hans Holbein from England and Georgius Reperdius from the French town of Lyon.” Reperdius was the Italian engraver Reverdino, about whom little is known, except that much of his engraved work was after Primaticcio. The latter was working at Fontainebleau at this period, and, if Bourbon is to be believed, Reperdius was settled in Lyon, where the poet probably met him when visiting that town for the purpose of making arrangements for the republishing of his _Nugae_. For the second edition of the “Old Testament” illustrations, published in 1539, Bourbon furnished, as already noted,[159] a Latin poem in which Holbein, as the designer of the woodcuts, is compared with and placed above the greatest painters of antiquity. It describes a scene in Elysium, in which the three great Greek painters, Apelles, Zeuxis and Parrhasius appear: Footnote 159: See Vol. i. p. 227. “Nuper in Elysio cum forte erraret Apelles Una aderat Zeuxis, Parrhasiusque comes.” Apelles breaks forth into a lament over the eclipse of their fame brought about by Holbein, and exclaims: