Sandrart, in his Life of Holbein, continues the history of the picture, and in speaking of Le Blond’s collection, says: “This gentleman has long ago” (_lang vorher_)—he refers to some time before he, Sandrart, was in Amsterdam, about 1640-45—“sold to the bookkeeper (or banker) Johann Lössert, at his urgent request for the sum of 3000 gulden, a standing figure of the Virgin painted on a panel, holding her little Child in her arms, and under her is a carpet on which some figures are kneeling before her, taken from life.”[502] Sandrart’s description shows that the picture in question was undoubtedly the Meyer Madonna, and this is confirmed by Patin’s account. The latter had access to the Faesch manuscript, and speaks of it as “A standing Mary on a panel with the Child on her arm, under her a carpet on which some figures are kneeling before her, painted from the life.” [Sidenote: HISTORY OF THE DARMSTADT PICTURE] Sandrart’s story indicates that Faesch must have been wrong in stating that Le Blond sold the picture to Maria de’ Medici, then in exile in Holland; she appears to have been contented with a copy of it. Sandrart himself took sketches of some of the figures, and others were made, according to Faesch, by Joh. Ludi. This was Johannes Lüdin, a pupil of Sarburgh, who has been confused by earlier writers with Giovanni da Lodi, an obscure painter whose work is to be found in several churches in Lodi. Wornum thought that Giovanni might have been the author of the Dresden copy of the picture,[503] but later researches have shown this to be a mistake. Quite recently (1911), Dr. E. Major has identified it as a copy made for Queen Maria de’ Medici by Bartholomäus Sarburgh, a portrait-painter who, in 1634, was living at the Hague, which was about the time the picture went to Holland. Sarburgh, who was born about 1590, worked in Basel and in Berne, and may have known the painting in his youth. It is extremely probable, in Dr. Major’s opinion, that the Dresden example is identical with the copy known to have been in the possession of the French Queen.[504] There are numerous copies of Holbein’s works by Sarburgh still in Basel, and several portraits by him in the Picture Gallery of that city.