At a later date the true name of the sitter appears to have become lost. It has been suggested[139] that, owing to the similarity of the sound, the name Morette was first changed to Morus, as the name of Sir Thomas More would naturally suggest itself in connection with Holbein. In Italy, Morus, again naturally, would become Moro, and so in course of time the picture was said to represent Lodovico Sforza, familiarly known as Il Moro. There is no need, however, to bring in the name of Sir Thomas More at all. The change must have been directly from Morette to Maurus, which was Sforza’s second name, from which his popular nickname “Il Moro” was taken.[140] Holbein’s name in connection with the picture having been by this time forgotten, the title “Maurus,” combined with the beauty of the work, gave rise to the supposition that it could only be from the hand of Sforza’s great countryman, Leonardo da Vinci; and it was as a portrait of Il Moro by Leonardo that it was purchased by Augustus III, King of Poland and Elector of Saxony, from the Duke Francesco of Este-Modena in 1746. It formed part of a collection of about one hundred pictures, known as the “Modena Gallery,” some of which are now among the chief masterpieces of the Dresden Gallery, which, after long and secret negotiations, the Elector procured for his own collection at the cost of one hundred thousand sequins and very liberal largesse to various agents and go-betweens. For the next hundred years it remained at Dresden as a portrait of Lodovico and a masterpiece by Da Vinci. Then Rumohr, the critic, pointed out that the style and quality of the painting proved it to be an undoubted work by Holbein, while at the same time Von Quandt produced evidence to show that it did not represent Il Moro, but a certain jeweller employed by Henry VIII named Hubert Morett. The paper he contributed to the _Kunstblatt_ in 1846 was accompanied by a reproduction of Hollar’s engraving of the original drawing of the picture, upon which his case was based. This engraving is inscribed “Mr. Morett” and “W. Hollar fecit, ex Collectione Arundeliana. A^o 1647. 31 Decē.” In spite of Rumohr’s criticism, however, the picture continued to be described in the official catalogues as by Leonardo, the authorities, it is said, objecting to the change of name, as in so doing the collection would be robbed of its sole work by Da Vinci; and it was not until the death of King Frederick Augustus that Holbein was allowed to come into his own again. There was considerable opposition, too, to the change from Il Moro to Mr. Morett, the goldsmith, Hollar’s engraving being a poor one, and not very much like the picture. The title was not changed, nor was the final restitution made to Holbein until 1860, in which year Holbein’s original drawing for the portrait made its appearance in London, in the sale of Samuel Woodburne, the art dealer, when it fetched £43, and was purchased immediately afterwards for the Saxon Government by Herr L.