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:Rosenborg Palace was built in the period 1606-34 as Christian IV’s summerhouse just outside the ramparts of Copenhagen. Christian IV was very fond of the palace and often stayed at the castle when he resided in Copenhagen, and it was here that he died in 1648. After his death, the palace passed to his son King Frederik III, who together with his queen, Sophie Amalie, carried out several types of modernisation.
The last king who used the place as a residence was Frederik IV, and around 1720, Rosenborg was abandoned in favor of Frederiksborg Palace.Through the 1700s, considerable art treasures were collected at Rosenborg Castle, among other things items from the estates of deceased royalty and from Christiansborg after the fire there in 1794.
Soon the idea of a museum arose, and that was realised in 1833, which is The Royal Danish Collection’s official year of establishment.