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In Potsdam, the royal seat of the Brandenburg-Prussian rulers, master builders and artists created a fascinating ensemble of palaces, parks and gardens in the space of only three centuries. The initial ideas on incorporating the surrounding lakes and hills into the future picture of the city were already developed during the construction of the Potsdam Town Palace (1662-1669).
However, it was not until the 19th century that the idea of Potsdam as a "paradise isle" became a reality, thanks to the landscape architect Peter Joseph Lenné. He united the various palaces and parks into a unique park landscape which was designated a "World Cultural Heritage site" by UNESCO in 1990.

New Palace and Theatre
At the Western end of the main avenue of the parks of Sanssouci arises an impressive castle, whose tambour cupola can be recognised from afar: the New Palace. The huge grounds were obviously meant to serve representative purposes as opposed to the more intimate and modest castle at the vineyard. The New Palace was the last castle Frederick the Great had built in his park. It was a demonstration of the power and wealth of the Prussian state after the years of deprivation during the Seven Years’ War (1756 -1763). 
Frederick himself hardly ever lived here, and it was used mainly for guests and receptions. It was not until William II, the last German Emperor, who chose it as his favourite residence again. The theatre, one of the oldest baroque theatres in original condition, is today still used for performances by the ensemble of the Hans-Otto-Theater.

New Chambers: The New Chambers in Sanssouci Park was originally built as an Orangery in 1745-1747 according to a design by Knobelsdorff. Between 1771 and 1775 the building was converted by Georg Christian Unger into Frederick the Great's guest palace. During that conversion the rich rococo furnishings were designed. In the “New Chambers” as the castle had been called from then on visitors can admire an arrangement of lavishly decorated parlours and apartments, created by the most famous artists during the time of Frederick the Great. A highlight in the succession of rooms is the jasper hall – a square room lined with gemstones. A ceiling fresco with an image of Venus, the ideal of beauty of the 18th century, tops off this room. In the adjacent Ovid Gallery, scenes of the roman poet Ovid’s Metamorphoses are depicted in precious golden reliefs – a favourite topic of Frederick the Great. Numerous paintings of views of the city of Potsdam from the 18th century complete the exquisite decoration.

Cecilienhof Palace: From 17 July to 2 August 1945, Cecilienhof Palace was the venue of the Potsdam Conference of the victorious powers of the Second World War. The palace was erected between 1914 and 1917 for Crown Prince William and his wife Cecilie von Mecklenburg-Schwerin. It was the last palace to be built by the Hohenzollerns. The plans were drawn up by the architect Paul Schultze Naumburg, who was inspired by English Tudor-style country houses.

Marble Palace: The Marble Palace was built by order of Frederick William II in the New Garden starting in 1787, initially according to plans drawn up by Carl von Gontard. Later Carl Gotthard Langhans took over construction management. The completion of the interior fittings was delayed, however, until 1845, long after the death of the original royal client (1797). From 1881 on, the Marble Palace was used as a residence by William (later emperor William II), and his wife Auguste Victoria, until the Cecilienhof Castle was finished in 1917. The grotto and concert parlour and the living room of the king are lavishly decorated with inlays, silk, marble fireplaces, paintings and craftwork. Exceptional are the valuable English Wedgwood ceramics. After extensive restoration, the Marble Palace is a true jewel among the Potsdam’s castles.

Palm Hall in the Orangery in the New Garden: How closely generations of rulers and architects are interwoven in Potsdam can be seen at the New Garden, a true miracle of poetic and sentimental garden design. In 1787 Frederick William II had begun its creation in the North east of Potsdam. “New” was this garden in comparison to the park Sanssouci. This garden was meant to convey naturalness and simplicity. The King wanted a sensitive as well as picturesque garden - rural life with cows and a dairy to produce milk, butter and cheese for the royal kitchen. It was planned and designed by Johann August Eyserbeck who came from Wörlitz. The setting near the water corresponds to Frederick William’s II inclination to reach his castles by waterway. From here he could even reach Berlin by boat. The Orangery, built between 1791 and 1792, impresses with its Egyptian portal.