If any of Valentine's pictures have come down to us, they have not as yet been identified. He must have painted a considerable number in the course of his career, and it is not likely that they have all perished. In the churches and convents of Belgium and in the various public and private collections throughout Europe there are a host of Flemish 'primitives' catalogued _inconnu_. It may well be that amongst them are some of Valentine's works; and note, not a few of these anonymous paintings are quite as beautiful as some of the authentic pictures of the greatest masters of the period. Take, for example, in the Brussels Gallery, the strangely pathetic and gloriously coloured Passion scenes of the triptych of Oultremont (No. 537); or the 'Martyrdom of Saint Sebastian' (No. 3E), attributed to Memling and to Dierick Boudts; or the 'Adoration of the Magi' (No. 20), which John van Eyck, Peter Christus and Gerard David are all said to have painted; or the Saint Gudila triptych, _Le Christ pleuré par les saintes femmes_ (No. 40), which some very eminent critics ascribe to Bernard van Orley, and in which others equally eminent find no trace of his style; or the 'Virgin and Child' (No. 21), successively given to Hubert van Eyck, Peter Christus, and Quentin Metsys. In a former edition of his catalogue, Monsieur A. J. Wauters wrote against this picture, '_Magnifique ouvrage de l' École de Bruges_.' He would have been on surer ground had he been content with the first two words of this sentence. It is certainly a _magnifique ouvrage_, and no more and no less can be aptly said of any of the above-mentioned pictures. But to return to the house of Van Orley. The greatest painter which that house produced--the giant who made pigmies of the rest, was Valentine's second son, Bernard, who, as his parents were only married in the spring of 1490, cannot have been born much before 1493. Of his life before 1515 nothing is certainly known. At this time he was settled in Brussels, and had already made a name, for in 1515 he painted a triptych for the oratory of the Holy Cross in the Church of Saint Walburge at Furnes, for which he received 104 _livres parisis_ (the central panel of this altar-piece is now at Turin); and in 1515 or 1516 he painted the portraits of the children of Duke Philippe le Beau, and also the portrait of his son-in-law, Christian II. of Denmark. These pictures have not come down to us, or at least they have not been identified; but, doubtless, they were all that could be desired, for shortly after their completion Marguerite of Austria, whom Charles Quint on the eve of his departure for Spain had named Regent of the Netherlands, appointed Orley Court painter; and if they were anything like the portrait which he painted two years later of Georges Zelle--now in the Brussels Gallery (No. 42)--they must have been singularly beautiful. This picture is signed and dated 1519.