31 Best Sights in Basel, Switzerland

Basel's cathedral evolved into its current form through a combination of the shifts of nature and the changing whims of architects. A 9th-century Carolingian church, it was consecrated as a cathedral by Henry II in 1019. Additions, alterations, and reconstructions in late Romanesque and early Gothic style continued through the 12th and 13th centuries. When Basel's devastating earthquake destroyed much of the building in 1356, subsequent reconstruction, which lasted about a century, adhered to the newly dominant Gothic style. The facade of the north transept, the Galluspforte (St. Gall's Door), is a surviving remnant of the original Romanesque structure. It's one of the oldest carved portals in German-speaking Europe—and one of the loveliest. Each of the evangelists is represented by his symbol: an angel for Matthew, an ox for Luke, a lion for Mark, and a bulbous-chested eagle for John. Above, around the window, a wheel of fortune flings little men off to their fates.

Inside on the left, following a series of tombs of medieval noblemen whose effigies recline with their feet resting on lions or their loyal dogs, stands the strikingly simple tomb of Erasmus. North of the choir, you can see the delicately rendered death portraits on the double tomb of Queen Anna of Habsburg and her young son, Charles, from around 1285. The vaulted crypt was part of the original structure and still bears fragments of murals from 1202. Both towers can be climbed, offering stunning, but dizzying, views over the city.

In a beautifully restored medieval mill with a still functioning waterwheel, this museum honoring paper, writing, and printing is wonderfully accessible. The museum is entirely hands-on, and visitors leave with paper they have made and wax seals they have pressed, as well as various writing and printing samples. In addition there is a wonderful permanent collection, from ancient scrolls to 20th-century newspaper-printing presses. Exhibits are in German, French, and English.

For decades, the world's most prestigious art collectors would journey to Basel to worship at the feet of one of modern art's greatest gallery owners, Ernst Beyeler, the founder of Art Basel, who died in 2010. At the end of his phenomenal career, he left his incomparable collection to the public and commissioned the noted architect Renzo Piano to build a museum in the town of Riehen, on the outskirts of Basel. The Fondation Beyeler presents an astonishingly well-rounded collection of modern art, and Piano's simple lines direct attention to more than 200 great works. The collection's catalog reads like a who's who of modern artists—Cézanne, Matisse, Lichtenstein, and Rauschenberg.

In this bright and open setting, Giacometti's wiry sculptures stretch toward the ceiling and Monet's water lilies seem to spill from the canvas into an outdoor reflecting pool. Indigenous carved figures from New Guinea and Nigeria stare into the faces on canvases by Klee and Dubuffet. A stellar selection of Picassos is juxtaposed with views of blue skies. Besides the permanent collection, several prestigious art exhibits every year attract art lovers from around the globe. To accommodate even more space for art, as well as for events, an extension designed by Swiss architect Peter Zumthor began construction in late 2021. The tram trip from Schifflände takes about 20 minutes.

In a city known for its museums, the Kunstmuseum is Basel's heirloom jewel. It was built in 1936 to house one of the world's oldest public art collections, owned by the city since 1661. The imposing facade of the main building, called the Hauptbau, gives way to an inner courtyard studded with statues. Inside is the world's largest assemblage of paintings by members of the Holbein family, an exceptional group of works by Konrad Witz, and, in fact, such a thorough gathering of the works of their contemporaries that the development of painting in the Upper Rhine is strikingly documented. Other Swiss artists are well represented, from Basel's own Arnold Böcklin to Gustav Klimt–like Ferdinand Hodler. A newer second building across the street, called the Neubau, houses both temporary exhibits and other items from the Kunstmuseum's permanent modernist collection (art from after 1950); it's accessible from the original museum by a tunnel. A third building, the Gegenwart, contains contemporary art and is about a five-minute walk away.

Flowers, fruits, and vegetables are sold most mornings from open stands in this central square. In fall and winter passersby purchase bags of hot roasted chestnuts, the savory scent of which wafts through the square.

As you circle the innovative and quirky installations at Museum Tinguely, you may have a few questions. How do they work? What do they mean? And where did the artist find this stuff? Born in Fribourg, 20th-century master Jean Tinguely is best known for his whimsical métamécaniques (mechanical sculptures), which transform machinery, appliances, and items straight from the junk heap into ironic and often macabre statements. For instance, Le Ballet des Pauvres, from 1961, suspends a hinged leg with a moth-eaten sock, a horse tail and a fox pelt, a cafeteria tray, and a blood-soaked nightgown, all of which dangle and dance on command. The wing of the museum projecting over the Rhine has a splendid river view of Basel. Many of the sculptures are activated at preset times, typically every 5 to 15 minutes, and it pays to wait and see them in action. Admission to temporary exhibitions is included in the entrance fee. Information sheets are available in English.

In the German town of Weil am Rhein, this renowned design museum's main building is a startling white geometric jumble designed by famed architect Frank Gehry that hosts large-scale temporary exhibits that put architecture, art, and everyday design on display. The neighboring Vitra Schaudepot, designed by Swiss architects Herzog & de Meuron, displays more than 400 objects from the museum's permanent collection, as well as smaller temporary exhibitions. There's also the striking Vitra Slide Tower by German artist Carston Höller—a viewing point, art piece, and slide all in one. During guided tours, buildings by architectural masters, including the exquisitely angular Fire Station by Zaha Hadid and the curved symmetry of the Conference Pavilion by Tadao Ando, can be visited. To get here by car, take A5/E35 north from Basel toward Karlsruhe; turn right onto Route 532, then turn left after exiting at Weil am Rhein. The museum is 1½ km (about 1 mile) ahead on the right. From the Badischer Bahnhof train station in Basel, take Bus 55 toward Kandern to the Vitra stop (20 minutes); from Basel SBB rail station, Barfüsserplatz, Claraplatz, or Kleinhüningen, take Tram 8 to the Weil am Rhein stop, from which the museum is a 10-minute walk. Architecture tours are held in English Friday to Sunday at 2 pm.

Basel's Roman history can seen in nearby Augst. Founded in 44–43 BC, Augst is the oldest Roman settlement on the Rhine, and today has been largely reconstructed as a noted museum of ancient Roman antiquities. Roman daily life is vividly depicted in this carefully rebuilt home. Everything, from the thermal baths to the ancient board games in the sitting rooms, has been completely re-created. The museum also exhibits the largest trove of Roman silver known to exist, which was unearthed in 1962. The objects, dating mostly from the 4th century, are believed to have been buried by the Romans in 350 to protect them from the ravages of the Alemanni, the German tribes who drove the Romans out of Switzerland. The site is reachable by car from Basel in 15 minutes or in summer via a leisurely boat trip up the river. From the Bahnhof SBB, take train S1 to Kaiseraugst, or Bus 81 from Basel-Aeschenplatz to Augst; thereafter it takes approximately 10 minutes from either of these stops to walk uphill to the Roman Museum. To view the restoration areas scattered around the almost suburban neighborhood, be prepared for a fair bit of walking.

The remains of this 2,000-year-old Roman settlement have been extensively rebuilt, with substantial portions of the ancient town walls and gates, streets, water pipes, and heating systems all in evidence. The 1st-century-BC theater, described as the best-preserved ancient complex north of the Alps, has been gloriously restored in the last few years.

This bright red edifice, which towers over Marktplatz, was built as a symbol of power and to honor the city's entry into the Swiss Confederation in 1501. Only the middle portion actually dates from the 16th century; a mix of neo-Gothic, neo-Renaissance, and art nouveau architectural styles were added in 1900. A massive clock with figures of the Lady Justice, the emperor Henry II, and his wife, Kunegunde, adorns the center of the facade; all around it is a series of colorful oil paintings, dating back to 1608. Step into the courtyard, where the paintings continue.

Built between 1763 and 1775 for two of the city's most successful silk-ribbon merchants, these were the residences of the brothers Lukas and Jakob Sarasin. In 1777, the emperor Joseph II of Austria was a guest in the White House. Adding that to the roster of Blue House visitor names—including Czar Alexander of Russia, Emperor Francis of Austria, and King Friedrich Wilhelm III of Prussia, who met for dinner here in 1814—brings the guest book over the top. The restored buildings now house part of the city government and are clearly labeled for curious passersby.

Fishmongers once kept their catches market fresh on this square, whose fountain basin served as a sort of communal cooler. The fountain itself dates from 1390 and features figures of the Virgin Mary, St. Peter, and John the Baptist.

The statues on the facade depict the biblical three wise men and are thought to date from 1754. The young general Napoléon Bonaparte lunched here in 1797, and an opulently decorated suite is named after him. Noteworthy guests have included Queen Elizabeth II, Charles Dickens, and Picasso. In 1897 the great Hungarian-born Jewish writer Theodor Herzl stayed here during the first Zionist Congress, which laid the groundwork for the founding of the state of Israel.

What would the woman pictured on most Swiss coins do if freed from the confines of currency? With spear and shield set aside (and with a packed suitcase in hand), this humanistic interpretation shows her seemingly contemplating the possibilities from a perch not far from the border of her homeland and the wide world beyond.

Housed within the 13th-century Barfüsserkirche (Church of the Shoeless Friars), this museum has an extensive collection of Basel's cathedral treasury, wooden sculptures, coins, armor, and other vestiges of the city's past. An underground gallery displays fully reconstructed medieval and Renaissance guild rooms, complete with stained glass, ceramic stoves, and richly carved wood. Upstairs, next to the choir, the Münster Treasury contains priceless reliquaries in gold. Despite its status as one of the finest examples of Franciscan architecture north of the Alps, the church was deconsecrated in the 19th century and turned into a warehouse until it was rescued in 1894 and converted to its present-day use as a museum. General descriptions are in German, French, and English. See the website for information in English about special exhibits.

A must-see for lovers of contemporary art, this museum has hosted landmark, precedent-setting exhibits of contemporary art since 1872. In addition to showing the work of several modern masters early in their careers (Paul Klee and Pablo Picasso), the gallery was the first in Europe to display works by American abstract expressionists. It's renowned as one of the world's most active institutions dedicated to the presentation of contemporary art. Programs include video installations, performances, and artist talks.

Bringing the city's art collections up to the present, this museum focuses on works from the 1960s onward. The fittingly modern building looks as though it has shouldered its way in between the street's half-timber houses. The language of the exhibition materials typically corresponds to the nationality of the artists.

When a famous gate tower on the Grossbasel side was destroyed, lost along with it was the notorious Lällekönig, a 15th-century gargoyle of a king whose mechanized clockwork caused the apparatus to stick out his tongue and roll his eyes at the "lesser" citizens across the river. Kleinbasel residents seek symbolic revenge even today. During the annual Vogel Gryff festival, a birdlike figure dances to the midpoint of the bridge, gives the Lällekönig a flash of his backside, and takes the party back to Kleinbasel. You can see a working facsimile of the Lällekönig on the corner of Schifflände, while the original still ticks and taunts away in the nether regions of the Historical Museum.

In the German-speaking countryside south of Basel, known as the Baselbiet, you'll find a handful of stately little villages with sturdy old guesthouses and a range of historic sites—from medieval to Roman—to explore. Take the winding forest road (A12) west of the freeway between Liestal and Oensingen, watching for Balsthal, Holderbank, Oberer Hauenstein, and Langenbruck; the industrial stretch just south of Liestal is less attractive. By train these towns take a matter of minutes to reach. Trains leave regularly from the Bahnhof SBB.

Like virtually all of Basel's churches, this one was destroyed in the 1356 earthquake before being rebuilt in the Gothic style, although its original Romanesque crypt remains. Its High Gothic wooden pulpit is distinctive. Free organ concerts are often held on Friday evenings.

Excellent acoustics make this church popular for concerts; it's rarely used for services. The lower portions of the tower date from 1287, making it the oldest parish church in town; the upper part was rebuilt after the earthquake of 1356. The fountain outside, with the statue of a warrior in battle dress, dates from the 16th century.

Basel's most historic bridge is a good metaphor for the city's successful mix of custom and commerce. It is used as a catwalk for many of Basel's centuries-old celebrations, while beneath its span, processions of barges continually glide through its low-slung arches. First built around 1225, the bridge made possible the development of an autonomous Kleinbasel and the consequent rivalry that grew between the two half towns. A stone bridge replaced the wooden one at the turn of the 20th century.

This ethnographic museum, radically renovated by star architects Herzog & de Meuron, presents a hands-on investigation of what "culture" means. The museum includes more than 340,000 ethnographic artifacts from around the world, as well as around 250,000 historic photographs. Permanent exhibitions, as well as three to five rotating exhibitions on topics such as migration and the sun, moon, and stars, explore the history of Switzerland and its neighbors. Descriptions are available in German, French, and English.

All aspects of the natural sciences—from the history of the earth to extinct mammals to interesting insects—are featured here. Kids will love the saber-toothed tigers, mammoths, and skeletons of several dinosaurs, while adults will enjoy the rotating exhibits investigating the natural world in a state of change. Most descriptive materials are in German only in the permanent collection.

Evidence of Basel's late-Gothic heyday, the 13th-century St. Peter's Church sits across from Petersplatz, a lovely park next to the Universität (University). In the rose window–lighted chapel are some interesting 14th-century frescoes.

This museum showcases original and re-created pharmacy counters, all kinds of beakers and flacons, and old remedies—from preserved crocodiles to mummy paste. Though labels are in German, audio guides are available in English, as well as several other languages. All kinds of herbs and teas can be purchased at the lovely shop. The museum is housed in Zum Vorderen Sessel, a home once frequented by Paracelsus.

A row of 15th- and 16th-century houses lines this steep little alley in Grossbasel. No. 11 housed Basel's university when it was founded in 1460.

Refurbished in 2014, the Spalentor once served as Basel's most important medieval city gate. More imposing than graceful, the 14th-century structure has a toothy wooden portcullis; note Basel's coat of arms atop the gate.

Bordering on the Barfüsserplatz, this museum has several floors filled with 18th-, 19th-, and 20th-century toys, including a cast of 2,500 teddy bears. The dollhouses, on a 1:12 scale, are all artistically displayed.

This original medieval city gate is set amid a lovely garden near remnants of the town's ramparts. Parts of the gate date from the end of the 14th century.