As the Gothic Room, it was heavily damaged by the French bombing in 1695 and simply refurnished at the beginning of the XVIII century. During the huge renovation of the all building at the middle of the XIX century, it was destinated to be the new Marriage Room and was restorated in neo-gothic style by the city architect Pierre-Victor Jamaer. It's dominated by a huge mural painting on dry plaster, painted by Charles-Léon Cardon in 1881. Conceived as a false tapestry, it represents an Allegory of Marriage: in the middle a young lady, the City of Brussels, presides marriages with at her sides Saint Michael the Archangel (patron of Brussels) painted two times, once personificating the Law once the Justice.

Behind the table an embroidery, designed by Isidore de Rudder in Pre-Raphaelite style and realized by his wife Hélène in 1897, represents a blue iris, new symbol of Brussels, with personifications of Love and Law. The furnitures are influenced by the Arts and Crafts movement and every details is well studied, as the luminaries on walls designed as Saint Michael's wings.