Amongst Marguerite's numerous bequests to the Church of Brou were some beautiful paintings by Bernard van Orley, which Marie was exceedingly loath to part with, and she therefore arranged with her aunt's executors to keep them, and to present to the Church of Brou, by way of compensation, a triptych for the high altar, hence the commission to the Court painter of January 12, 1534; but the _beau exquis et puissant tableau_, which was the outcome of this arrangement, was not destined to adorn the altar for which it had been ordered. Though Bernard had worked at it eight years, when he died, on the 21st of January 1542, it was still unfinished, and eight years later the canons of Notre-Dame, at Bruges, who were at this time preparing their church for the reception of the relics of Charles the Bold, purchased it from Van Orley's heirs for 286 _livres tournois_. The three great panels of _bois de Danemarck_ were conveyed to Bruges in as many wagons, and set up behind the high altar in the old Collegiate Church of Notre-Dame, where they still remain, but how much or how little of Van Orley's work is displayed on them is another question: the triptych was completed by the Bruges painter, Marc Geerhaerds, in 1561, and about thirty years later the central panel was entirely repainted and the wings retouched by François Pourbus. This picture has been removed from its original position, and now hangs on the west wall of the south aisle--subject, scenes from the Passion. Of Bernard van Orley's signed paintings only four have come down to us:--the Job triptych and the Zelle portrait at Brussels, the Holy Family at Stockholm, signed B. v. Orley, but not dated, and an altar-piece at Vienna, showing the death of Saint Thomas and the election of Saint Mathias, and signed Bernardus van Orley, but not dated. This picture is the central panel of a triptych which was formerly in the Church of Notre-Dame du Sablon; the wings are now in the Brussels Gallery (No. 44A). Open, they represent the Incredulity of Saint Thomas and the Martyrdom of Saint Mathias, and shut, the same saints in grisaille, and six kneeling figures, doubtless the donors. From the fact that four small carpenter's tools are painted on the back of each of the shutters, it is likely enough that this triptych was ordered by or for the Carpenters' Guild--a wealthy corporation intimately connected with the Sablon Church. We know nothing of its history. The portrait of Georges Zelle is without question Van Orley's masterpiece. In colour, composition, technique, this picture is quite perfect. It was his last effort in the old style, and it gives him the right to an honourable place in the ranks of the great masters of the old national school.