Who is this queen who is thus exalted? She is the consolation of the world. What is her name? tell me, I pray! Mary, blessed Mother and Virgin. How did she attain this exaltation? By love, humility and charity. Who will be uplifted with her, on high? Whoever knows her best in life. Connoisseurs in prints disagree as to the age and merit of this print. Passavant says that the _Berlin Print_, which he describes as of fine execution, is undoubtedly of Dutch origin, but he thinks it is the design of a German artist. He places its date in the same period as that of the _Brussels Print_, which, according to him, is 1468. Renouvier says that the outlines of the _Berlin Print_ are in the style of well-known Dutch or Flemish prints. He hazards no conjecture as to [p081] the exact date of its publication, but intimates that it may properly be classified with the older prints of the Netherlands. [Illustration: The Berlin Print.] Holtrop says that the language of the legend in the Berlin print decides its origin; the design is of the [p082] Netherlandish school; the language is Flemish, and not Dutch. He further says: “These two prints (of Berlin and Brussels) complement each other; the print of Berlin shows their common origin; the print of Brussels indicates their date. It may be said that they were engraved in the Netherlands, probably in Flanders, and perhaps in Bruges, at the beginning of the fifteenth century.” The prints herein described are the earliest prints with dates, but they are not, necessarily, the earliest of all. There are prints known to collectors as the _Crucifixion_, the _Last Judgment_ and the _St. Jerome_, which are regarded by many bibliographers as the work of unknown engravers at or about 1400. There is a print of _St. George_ which competent judges say was done in the thirteenth century. None of the prints contain the name or the place of the engravers, but it is plain that they were made in the Southern Netherlands, as well as in Southern Germany. It would be premature to assume that they were made nowhere else; but it must be acknowledged that there are no image prints on paper which can be ascribed to any engraver in France, Italy, Spain, Holland or England, during the first fifty years of the fifteenth century. There is a plausible statement on record, which will be reviewed on another page, that artistic engravings on wood were made in Italy before this period. We find, also, a more questionable statement, that engraving on wood was practised in France before the year 1400—a statement based entirely on a print in the public library of the city of Lyons, with a printed date which has been represented as that of the year 1384. The age of this print has been denied. It is alleged, with every appearance of probability, that there is mistake or fraud in the numerals, for the costumes of the figures prove that the print should have been made in the sixteenth century.