The law of 27 "ventôse an VIII" (March 18, 1800), reforming the judicial system, created a court of first instance[2] in Charleroi, despite protests from Thuin and Binche, which claimed the sea.

They were nicknamed Totor and Tutur by journalist Louis-Xavier Bufquin des Essarts in his legal column in the Charleroi Journal.

The increase in workload, directly proportional to the growth of the region over which the court extended its legal jurisdiction, meant that the premises also became too cramped.

[2] Added to this is the rapid dilapidation of the building, following a poor choice of materials by the architect, a cut stone which turned out to be very friable.

These two projects were materialized by an agreement signed on 27 mars 1950 which stipulates that a building that would house the Institute and the museum would be built by the State.

[6] Under Mayor Octave Pinkers, plans were made to redevelop the Plaine de Manoeuvres and build the Glass Museum and a new courthouse in this space.

[7] The project was entrusted to Jacques Depelsenaire, a native of Charleroi country and winner of the Prix de Rome.

[9] From 1976, an exhibition area was occupied by part of the collections of the Archaeological Museum of Charleroi whose building, inaugurated in 1879 on Boulevard Jacques Bertrand, had been closed since 1954, damaged following miner movements.

The architectural image chosen for the Palace of Justice by Jacques Depelsenaire, is that of modernity and democratic openness, typical of the expression of the post-war modernist style.

The central wing of the Palace which runs along the street Tumelaire rests partially on powerful pillars, which allow access to an interior courtyard extended by a monumental staircase that leads to the Palais du Verre.

The facade towards Avenue Général Michel is decorated with a monumental work by André Hupet Justice Pursuing Evil.

The courtrooms are decorated with frescoes by Émile Tainmont, a monumental painting by Marcel Vintevogel (police court), and a ceramic by Olivier Strebelle.

[8] At the top of the Park, near the entrance to the Palais du verre, a tribute to Georges Lemaître by Jean-François Diord emerges from the infinity pool and on the other side of this building, a work by Boris Tellegen installed in 2014 as part of Asphalte#1, urban art biennial.