In 1871, Meyer was among the team of art historians (the others including Moritz Thausing, Carl von Lützlow, Adolf von Bayersdorfer, Friedrich Lippmann, Wilhelm Lübke, Alfred Woltmann, Karl Woermann, G. Malsz and Wilhelm Bode) who convened in Dresden to determine which of two versions of Hans Holbein the younger's Meyer Madonna was the autograph work. The so-called "Holbein convention," one of the important events in nineteenth-century art history when many methodical approaches were employed to determined authenticity, concluded that the Darmstadt version was the original.
and Woltmann, Alfred, and Görling, Adolph. Deutschlands Kunstschätze: eine Sammlung der hervorragendsten Bilder Berliner, Dresdner, Münchner, Wiener, Casseler und Braunschweiger Galerien. 4 vols. Leipzig: A.H. Payne, 1871-1872, English, Art Treasures of Germany. A Collection of the Most Important Pictures of the Galleries of Dresden, Cassel, Brunswick, Berlin, Munich and Vienna. Boston: S. Walker & Co., 1873.
Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145.