The Marmorpalais (or Marble Palace) is a former royal residence in Potsdam, near Berlin in Germany, built on the grounds of the extensive Neuer Garten on the shores of the Heiliger See.

On the nearby lake shore is to be found the palace kitchen, which was built 1788-1790 by Langhans in the romantic style of a half-sunken classical temple ruin.

The architect connected these single-story, rectangular extensions to the right and left of the main entrance on the garden side of the palace with galleries in the form of quarter circles.

The marble required to decorate these extensions was obtained by removing Frederick William's colonnades from Park Sanssouci and incorporating the pillars in the new building.

His brother, King Frederick William IV of Prussia, known as "a royal nostalgic romanticist", commissioned the architect Ludwig Ferdinand Hesse to complete the unfinished interior structure and fittings for the two side extensions between 1843 and 1848.

[1] After the German monarchy came to an end in 1918, the Marmorpalais was placed under the control of the Prussian palaces administration in 1926 as a result of a settlement between the Free State of Prussia and the Hohenzollern family regarding property claims.

Toward the end of World War II the palace suffered serious damage when the north wing was hit by an incendiary bomb, and the main building by a grenade.

Since 1990, the Marmorpalais has been part of the UNESCO World Heritage Site "Palaces and Parks of Potsdam and Berlin" because of its architectural harmony with the nearby gardens and its testimony to the power of Prussia in the[3] 18th and 19th centuries.

Marble fireplaces and antique sculpture were a prominent feature in decisions about the decorative furnishings; these had been purchased in Italy for the Marmorpalais by the architect Friedrich Wilhelm von Erdmannsdorff.

Because of its shady location and the calm, cool effect of its greyish blue marble paneling its occupants enjoyed a pleasant room climate.

The furnishings and decorative architecture of the rooms reflected a taste for the Neoclassical style, the only exception being the so-called Oriental cabinet on the upper floor, which Langhans designed as a Turkish tent with a divan.