In 1514 new rooms were added. They are mostly by Hans Behaim and are very good specimens of late Gothic. In 1520 the Rathaus Hall was renovated and altered and the side walls were painted after Durer's designs, by Georg Pencz and other pupils of the master. The hall was again restored and adorned with new pictures in 1613. Two years later the great chandelier, by Hans Wilhelm Behaim, was placed there. Two copies of it were added in 1874. The Rathaus took almost its present form in 1616. The architect, Eucharius Karl Holzschuher, adapted, so far as possible, the old Rathaus to the new Italian style of building which now enclosed it. The outbreak of the Thirty Years War, however, prevented the completion of his plan. The north-east portion of the Rathaus has indeed only recently been finished after the designs of Dr A. von Essenwein. The imposing Renaissance façade confronting St. Sebald's is nearly 300 feet long and consists of two stories containing thirty-six windows apiece. Three Doric portals form the entrances, and are ornamented with sculptures of reclining figures--Justice holding the scales and Truth with a mirror, Julius Cæsar and Alexander, Ninus and Cyrus--by Leonhard Kern. The sculptor received the moderate wage of 100 gulden per figure. Entering the first court by the central portal, we see in front on the right the charming old Gothic gallery, supported by three pillars. In the centre of the court is a bronze fountain by Pankraz Labenwolf (1556); in the second court is the Apollo fountain of Hans Vischer.[33] The principal[34] staircase (_r_ of central entrance) leads to the Great Hall or Council Chamber already referred to (1332). The arched wooden ceiling dates from 1521. The hall is 130 feet long and 40 feet wide and contains the chandeliers and the paintings after Durer's designs mentioned above. The latter, on the north wall, have been much spoiled by the effects of time and of incompetent restoration. The first of them represents the Triumphal Car of Maximilian I. drawn by twelve horses. Victory holds a laurel wreath over the Emperor, who is attended by the various Virtues. Behind the car follows an animated procession of Nuremberg town musicians. The second design is on the well-worn subject of Calumny--Midas with his long ears sitting in judgment on Innocence who is accused by Calumny, Fraud, Envy, and so forth, whilst in the background appear Punishment, Penitence, and Truth. On the right of the judge (our left) who sits between Ignorance and Suspicion, are the words: _Nemo unquam sententiam ferat priusquam cuncta ad amussim perpenderit_, on the left the same sentiment in German: Ein Richter soll kein Urtheil geben Er soll die Sach erforschen eben. Over the little door is written "Eins manns red ist eine halbe red. Man soll die Teyl verhören bed." (One man's rede is but half the rede. The other side should be heard.)