19th-century double portrait of Maximilian I, Holy Roman Emperor and Mary of Burgundy. The space was intended for the administrators of the States of Brabant and was taken over by the College of Mayors and Aldermen. The walls are covered with four tapestries from the eight-part series Life of Clovis, after cartons by the French painter Charles Poerson. The other four tapestries decorate the next room. The Grangé Gallery on the side of the courtyard connects all these rooms. It contains 18th-century portraits of monarchs painted around 1718 by Louis Grangé. Mayor's cabinet The mayor's cabinet is located on the side of the /. The Waiting Room, originally built for the secretariat of the States of Brabant, is decorated with paintings by . They are incorporated into the oak panelling and show the part of Brussels which was destined for demolition because of the covering of the Senne. Staircase of honour The staircase of honour is the result of a late 19th-century renovation to provide direct and monumental access to the mayor's cabinet and the Gothic Room. The original chapel had to make way for this. Paintings by Jacques de Lalaing have been applied to the walls and ceilings. Busts of the mayors are lined up along the landing. Gothic Room The Gothic Room in the oldest part of the Town Hall is in fact neo-Gothic. The wooden cladding is the work of . Tapestries from the Mechelen studio Braquenié, designed by , have been incorporated into the long sides. They represent the Guilds of Brussels. The two tapestries on the short side relate to the weapons' guilds. Originally, this was the room in which supreme justice was spoken. The long wall opposite Rue Charles Buls was decorated with The Justice of Trajan and Herkinbald, the famous justice panels of Rogier van der Weyden which were lost in the 1695 bombardment. Wedding Room The Wedding Room has been set up on the side of the Grand-Place. Here too, in the past, justice was spoken and a neo-Gothic transformation has been carried out. A Middle Dutch poem has been reproduced on the roof beams, which, as early as the 15th century, recalled the way to properly govern the city. The corbels show the coats of arms of the Seven Noble Houses of Brussels, and the ceiling those of the guilds. Influence Brussels' Town Hall was an exemplary work for architects representing