For more than one hundred years after the Cromhout sale all traces of the picture are missing, though it appears to have been in England for at least a part of the time, for on the back is written in English: “No. 82, Holy Family, Portraits, A.D.,” the latter initials indicating that when here it was attributed to Dürer. On the old seventeenth-century frame there are, in addition to the Cromhout coat of arms, the armorial bearings of a member of the Von Warberge family and his wife, apparently indicating yet another ownership. It reappeared in 1822, when it was purchased by Prince William of Prussia from the Parisian picture-dealer Delahante, through the latter’s brother-in-law, Spontini, at that time royal musical director in Berlin, at a cost of 2500 or 2800 thalers—about £420. On the death of the Prince its purchase for the Berlin Museum was urged by Dr. Waagen, but the authorities were not willing to consider it. On the division of the Prince’s property, it was assigned to his daughter, Princess Elizabeth, who married Prince Charles of Hesse-Darmstadt in 1836; and from that day the picture has remained in the private apartments of the old palace. [Sidenote: HISTORY OF THE DRESDEN VERSION] The first definite information about the Dresden version is that at the beginning of the eighteenth century it was in Venice, in the possession of the Delfino family, from whose representative, Giovanni Delfino, it was purchased by Count Francesco Algarotti on the 4th September 1743, for Augustus III, Elector of Saxony, for one thousand sequins. A previous attempt to buy it had been made by the Duke of Orleans in 1723. It is to be gathered from Algarotti’s correspondence that the picture had been bequeathed to Delfino’s father by the Venetian banker Avogadro, and, according to an old servant of the latter’s, named Griffoni, his master had obtained it in or about the year 1690 in Amsterdam as payment for a debt of 2000 sequins owing to him by the house of Lössert, which had recently become bankrupt. Algarotti was of opinion that it was the very picture mentioned by Sandrart. As, however, the original picture was still in Amsterdam in 1709 (the date of the Cromhout sale), nearly twenty years after Avogadro is said to have received it, the version which went to Venice can only have been a copy, which it is now known to be. It appears, therefore, that at one time Loskart or Lössert possessed two versions of the picture; and it may be conjectured that at the time of the bankruptcy, or perhaps earlier, the original was sold to or taken over by Cromhout, and the early seventeenth-century copy retained, until it was given to Avogadro in lieu of the debt. It is not, however, necessary to suppose that the transaction was an underhand one, and that a copy was knowingly palmed off on the banker as an original, for very possibly by that time both pictures were regarded as genuine works by Holbein.