The New Chambers in Sanssouci Park, Potsdam, were constructed for King Frederick the Great of Prussia from 1771 to 1775. The building, which stands to the west of Sanssouci Palace, serves as a complement to the Picture Gallery, which lies to the east. Both buildings flank the summer palace.
The chambers replaced an orangery, which had been built at that site in 1745 on plans by Georg Wenzeslaus von Knobelsdorff and held the terraces' potted plants during the winter months. Ramps, on which the tubs were taken in and out, serve as reminders of the building's original use. Master builder Georg Christian Unger was commissioned to turn the orangery building into a guesthouse. The building's basic elements were left alone, as were its size and floor-to-ceiling french doors. The most obvious change was the addition of a cupola on the middle section. The similarities between the architecture of the New Chambers and that of the Picture Gallery are such that the both buildings can be mistaken for the other.
The real alteration occurred in the interior, where seven guest rooms and two ballrooms were created. The building is a highpoint of the late style of Frederican Rococo, even though classicism was already largely set as the prevailing taste of the period. The guest rooms were decorated differently with lacquered, painted, or inlaid cabinets, whose costly inlays of native woods decorated the entire wall from the ceiling to the floor. For paintings, the guest rooms have views of Potsdam, which document the town's design under Frederick the Great and were specially commissioned for the guesthouse by the king.
In the middle of the building, under the cupola, lies the largest room, the Jasper Room. The ballroom's walls are gloriously decorated with red jasper and grey Silesian marble. The same colors are found in the floor design. The ceiling painting Venus mit ihrem Gefolge (Venus with her Retinue) was created in 1774 by Johann Christolph Frisch. Decorated panels from both antiquity and the 18th century were attached to the background of red jasper.
The second, large ballroom, located in the eastern part of the New Chambers is the Ovid Gallery, decorated in the style of French mirrored rooms. On the long side of the room is a mirror stretching almost to the ceiling, across from which, on the garden side, are french doors. Frederick wished that the walls be decorated with gilded reliefs of the liaisons of the ancient gods, which had been told by the Roman poet Ovid in his Metamorphoses. The room's rich decoration comes from the workshop of the Bayreuther sculptors and brothers Johann David Räntz and Johann Lorentz Wilhelm Räntz.References:
The Church of St Eustace was built between 1532-1632. St Eustace"s is considered a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also chose the sanctuary as the location for his mother’s funeral. Among those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. The last rites for Anne of Austria, Turenne and Mirabeau were pronounced within its walls. Marie de Gournay is buried there.
The origins of Saint Eustache date back to 13th century. The church became a parish church in 1223, thanks to a man named Jean Alais who achieved this by taxing the baskets of fish sold nearby, as granted by King Philip Augustus. To thank such divine generosity, Alais constructed a chapel dedicated to Sainte-Agnès, a Roman martyr. The construction of the current church began in 1532, the work not being finally completed until 1637. The name of the church refers to Saint Eustace, a Roman general of the second century AD who was burned, along with his family, for converting to Christianity, and it is believed that it was the transfer of a relic of Saint Eustache from the Abbey to Saint-Denis to the Church of Saint Eustache which resulted in its naming. Jeanne Baptiste d"Albert de Luynes was baptised here.
According to tourist literature on-site, during the French Revolution the church, like most churches in Paris, was desecrated, looted, and used for a time as a barn. The church was restored after the Revolution had run its course and remains in use today. Several impressive paintings by Rubens remain in the church today. Each summer, organ concerts commemorate the premieres of Berlioz’s Te Deum and Liszt’s Christus here in 1886.
The church is an example of a Gothic structure clothed in Renaissance detail. The church is relatively short in length at 105m, but its interior is 33.45m high to the vaulting. At the main façade, the left tower has been completed in Renaissance style, while the right tower remains a stump. The front and rear aspects provide a remarkable contrast between the comparatively sober classical front and the exuberant rear, which integrates Gothic forms and organization with Classical details. The L"écoute sculpture by Henri de Miller appears outside the church, to the south. A Keith Haring sculpture stands in a chapel of the church.
The Chapel of the Virgin was built in 1640 and restored from 1801 to 1804. It was inaugurated by Pius VII on the 22nd of December, 1804 when he came to Paris for the coronation of Napoleon. The apse chapel, with a ribbed cul-de-four vault, has at its centre a sculpture of the Virgin and Child of Jean-Baptiste Pigalle that the painter Thomas Couture highlighted by three large paintings.
With 8,000 pipes, the organ is reputed to be the largest pipe organ in France, surpassing the organs of Saint Sulpice and Notre Dame de Paris. The organ originally constructed by P.-A. Ducroquet was powerful enough for the premiere of Hector Berlioz" titanic Te Deum to be performed at St-Eustache in 1855.