174 Best Sights in Paris, France

Much of the credit for the city's ascendancy as a hub of international photography goes to Maison Européenne de la Photographie (MEP). Set in a landmark 17th-century mansion with a contemporary addition, MEP hosts up to four simultaneous exhibitions, which change about every three months, along with themed visits, workshops, and programs for kids. Shows feature an international crop of photographers and video artists. Works by superstar Annie Leibovitz or the late designer-photographer Karl Lagerfeld may overlap with a collection of self-portraits by an up-and-coming artist, and there are also regular retrospectives of photos by Doisneau, Cartier-Bresson, Man Ray, and other classics from MEP's vast private collection. The center has an excellent library, bookstore, and a café that spills out into the courtyard in warm months. Programs are available in English, and English-language tours are sometimes offered.

Place d'Aligre has two of Paris's best markets: the lively outdoor Marché d'Aligre and the covered Marché Beauvau. Open every day but Monday, both are great places to pick up picnic essentials, which you can enjoy nearby in the small park at Square Trousseau or on the Promenade Plantée. The picturesque outdoor market has dozens of boisterous vendors, their stands laden with fresh fruits and vegetables, flower bouquets, and regional products such as jam, honey, and dried sausage. Many vendors are happy to give you a taste of whatever they're selling. The covered market, Marché Beauvau, stocks everything from cheeses and olive oil to brewed-in-Paris craft beer. Sunday morning, when the accompanying flea market is in full swing, is the liveliest time to visit. Stop for a plate of fresh oysters, charcuterie, and a glass of rouge (even on Sunday morning) at one of the city's quirkiest wine bars, Le Baron Rouge ( 1 rue Théophile Roussel), or one of the many chic cafés in the neighborhood.

The first installation in this compelling memorial and museum is the deeply moving Wall of Names, tall plinths honoring the 76,000 French Jews deported from France to Nazi concentration camps, of whom only 2,500 survived. Opened in 2005, the center has an archive on the victims, a library, and a gallery hosting temporary exhibitions. The permanent collection includes riveting artifacts and photographs from the camps, along with video testimony from survivors. The children's memorial is particularly poignant and not for the faint of heart—scores of backlit photographs show the faces of many of the 11,000 murdered French children. The crypt, a giant black marble Star of David, contains ashes recovered from the camps and the Warsaw ghetto. You can see the orderly drawers containing small files on Jews kept by the French police. (France officially acknowledged the Vichy government's role only in 1995.) The history of anti-Semitic persecution in the world is revisited, as well as the rebounding state of Jewry today. There is a free guided tour in English the second Sunday of every month at 3.

When this world-famous cabaret opened in 1889, aristocrats, professionals, and the working classes alike all flocked to ogle the scandalous performers (the cancan was considerably kinkier in Toulouse-Lautrec's day, when girls kicked off their knickers). There's not much to see from the outside except for tourist buses and sex shops; if you want to catch a show inside, ticket prices start at €113. Souvenir seekers should check out the Moulin Rouge gift shop (around the corner at 11 rue Lepic), which sells official merchandise, from jewelry to sculptures, by reputable French makers.

If it has to do with Parisian history, it's here. Spruced up after a four-year renovation, this fascinating hodgepodge of artifacts and art ranges from prehistoric canoes used by the Parisii tribes to the cork-lined bedroom where Marcel Proust labored over his evocative novels. Thanks to scores of paintings, drawings, photographs, furniture, and scale models, nowhere else in Paris can you get such a precise picture of the city's evolution through the ages. The museum fills more than 100 rooms in two adjacent mansions, the Hôtel Le Peletier de St-Fargeau and the Hôtel Carnavalet. The latter is a Renaissance jewel that was the home of writer Madame de Sévigné from 1677 to 1696. Throughout her long life, she wrote hundreds of frank and funny letters to her daughter in Provence, giving an incomparable view of both public and private life during the time of Louis XIV. The museum offers a glimpse into her world, but its collection covers far more than just the 17th century. The exhibits on the Revolution are especially interesting, with scale models of guillotines and a replica of the Bastille prison carved from one of its stones. Louis XVI's prison cell is reconstructed along with mementos of his life, even medallions containing locks of his family's hair. Other impressive interiors are reconstructed from the Middle Ages through the rococo period and into Art Nouveau—showstoppers include the Fouquet jewelry shop and the Café de Paris's original furnishings. The sculpted garden at  16 rue des Francs-Bourgeois is open from April to the end of October.

Wealthy Milanese banker and patriot Enrico (Henri) Cernuschi fled to Paris in 1850 after the new Italian government collapsed, only to be arrested during the 1871 Paris Commune. He subsequently decided to wait out the unrest by traveling and collecting Asian art. Upon his return 18 months later, he had a special mansion built on the edge of Parc Monceau to house his treasures, notably a two-story bronze Buddha from Japan. Reopened in 2020 after a yearlong restoration, France's second-most-important collection of Asian art, after the Musée Guimet, expanded its galleries to include objects never before displayed, widening the collection to include more works from Japan, Korea, and Vietnam. Cernuschi had an eye not only for the bronze pieces he adored but also for Neolithic pottery (8000 BC), mingqi tomb figures (AD 300–900), and an impressive array of terra-cotta figures from various dynasties. A collection highlight is La Tigresse, a bronze wine vessel in the shape of a roaring feline (11th century BC) purchased after Cernuschi's death. Although the museum is free, there is a charge for temporary exhibitions: previous shows have featured Japanese drawings, Iranian sculpture, and Imperial Chinese bronzes.

This excellent museum traces the tempestuous backstory of French and European Jews through art and history. Housed in the refined 17th-century Hôtel St-Aignan, exhibits have good explanatory texts in English, but the free English audio guide adds another layer of insight; guided tours in English are also available on request (€4 extra). Highlights include 13th-century tombstones excavated in Paris; a wooden model of a destroyed Eastern European synagogue; a roomful of early paintings by Marc Chagall; and Christian Boltanski's stark two-part tribute to Shoah (Holocaust) victims in the form of plaques on an outer wall naming the (mainly Jewish) inhabitants of the Hôtel St-Aignan in 1939, and canvas hangings with the personal data of the 13 residents who were deported and died in concentration camps. The museum also mounts excellent temporary exhibitions, like the recent "Chagall, Modigliani, Soutine: Paris as a School, 1940." The rear-facing windows offer a view of the Jardin Anne Frank. To visit the garden, use the entrance on Impasse Berthaud, off Rue Beaubourg, just north of Rue Rambuteau.

Opened in 1986, this gorgeously renovated Belle Époque train station displays a world-famous collection of Impressionist and Postimpressionist paintings on three floors. To visit the exhibits in a roughly chronological manner, start on the ground floor, take the escalators to the top, and end on the middle floor. If you came to see the biggest names here, head straight for the top floor and work your way down. English audio guides and free color-coded museum maps (both available just past the ticket booths) will help you plot your route.

Galleries off the main alley feature early works by Manet and Cézanne in addition to pieces by masters such as Delacroix and Ingres. The Pavillon Amont has Courbet's masterpieces L'Enterrement à Ornans and Un Atelier du Peintre. Hanging in Salle 14 is Édouard Manet's Olympia, a painting that pokes fun at the fashion for all things Greek and Roman (his nubile subject is a 19th-century courtesan, not a classical goddess). Impressionism gets going on the top floor, with iconic works by Degas, Pissarro, Sisley, and Renoir. Don't miss Monet's series on the cathedral at Rouen and, of course, samples of his water lilies. Other selections by these artists are housed in galleries on the ground floor. On the middle floor, you'll find an exquisite collection of sculpture as well as Art Nouveau furniture and decorative objects. There are rare surviving works by Hector Guimard (designer of the swooping green Paris métro entrances), plus Lalique and Tiffany glassware. Postimpressionist galleries include work by van Gogh and Gauguin, while Neo-Impressionist galleries highlight Seurat and Signac. The museum also regularly curates large, temporary exhibits of major, historic artists.

To avoid the lines here, which are among the worst in Paris, book ahead online or buy a Museum Pass, then go directly to Entrance C. Otherwise, go early. Thursday evening the museum is open until 9:45 pm and less crowded. Don't miss the views of Sacré-Coeur from the balcony—this is the Paris that inspired the Impressionists. The Musée d'Orsay is closed Monday, unlike the Pompidou and the Louvre, which are closed Tuesday.

Built on the ruins of Roman baths, the Hôtel de Cluny has been a museum since medievalist Alexandre Du Sommerard established his collection here in 1844. The ornate 15th-century mansion was created for the abbot of Cluny, leader of the mightiest monastery in France. Symbols of the abbot's power surround the building, from the crenellated walls that proclaimed his independence from the king to the carved Burgundian grapes twining up the entrance that symbolize his valuable vineyards. The scallop shells (coquilles St-Jacques) covering the facade are a symbol of religious pilgrimage, another important source of income for the abbot; the well-traveled pilgrimage route to Spain once ran around the corner along Rue St-Jacques. The highlight of the museum's collection is the world-famous La Dame à la Licorne (The Lady and the Unicorn) tapestry series, woven in the 16th century, probably in Belgium, and now presented in refurbished surroundings. The vermillion tapestries are an allegorical representation of the five senses. In each, a unicorn and a lion surround an elegant young woman against an elaborate millefleur (literally, "1,000 flowers") background. The enigmatic sixth tapestry is thought to be either a tribute to a sixth sense, perhaps intelligence, or a renouncement of the other senses; "To my only desire" is inscribed at the top. The collection also includes the original sculpted heads of the Kings of Israel and Judah from Notre-Dame, decapitated during the Revolution and discovered in 1977 in the basement of a French bank. The frigidarium is a stunning reminder of the city's cold-water Roman baths; the soaring space, painstakingly renovated, houses temporary exhibits. Also notable is the pocket-size chapel with its elaborate Gothic ceiling. Outside, in Place Paul Painlevé, is a charming medieval-style garden where you can see flora depicted in the unicorn tapestries. The English audio guide (€3) is highly recommended. For a different kind of auditory experience, check the event listings; concerts of medieval music are often staged in the evening, Sunday afternoons, and Monday at lunchtime.

In high season, the lines to see Claude Monet's massive, meditative Water Lilies (Les Nymphéas) can stretch into the pretty Tuileries Gardens, but the paintings are well worth the wait. These works, displayed in two curved galleries designed in 1914 by the master himself, are the highlight of the Orangerie's small but excellent collection, which also features early-20th-century paintings by other Impressionist masters like Renoir, Cézanne, and Matisse. Many hail from the private holdings of high-powered art dealer Paul Guillaume (1891–1934), among them the dealer's portrait by Modigliani entitled Novo Pilota (New Pilot). Temporary exhibitions are typically quirky and well-curated. Originally built in 1852 to shelter orange trees, the long rectangular building, a twin of the Jeu de Paume across the garden, includes a portion of the city's 16th-century wall (you can see remnants on the lower floor). A small café and gift shop are here too. Timed entrances, easily bookable online, are strongly recommended.

Mark this down as one of Paris's most distinctive—and fascinating—collections around the theme of "humans and nature." The museum, housed in the gorgeous 17th-century Hôtel de Guénégaud, features lavishly appointed rooms stocked with animal- and hunt-themed art and sculpture by the likes of Rubens and Gentileschi, as well as antique weaponry and taxidermy interspersed with contemporary works by artists such as Jeff Koons, Sophie Calle, and Walton Ford. In a tribute to Art Nouveau, the decor incorporates chandeliers and railings curled like antlers. Older kids will appreciate the jaw-dropping Trophy Room's impressive menagerie of beasts, not to mention the huge polar bear stationed outside. There is a lovely multimedia exhibit on the myth of the unicorn, as well as charming interactive displays on antique weaponry and bird calls. Temporary exhibits take place on the first floor, with works scattered throughout the permanent collection. There's also a spacious café.

The outstanding Musée Guimet boasts the Western world's biggest collection of Asian art, thanks to the 19th-century wanderings of Lyonnaise industrialist Émile Guimet. Exhibits, enriched by the state's vast holdings, are laid out geographically in airy, light-filled rooms. Just past the entry, you can find the largest assemblage of Khmer sculpture outside Cambodia. The second floor has statuary and masks from Nepal, ritual funerary art from Tibet, and jewelry and fabrics from India. Peek into the library rotunda, where Monsieur Guimet once entertained the city's notables under the gaze of eight caryatids atop Ionic columns; Mata Hari danced here in 1905, and the museum still hosts an impressive series of musical events. The much-heralded Chinese collection, made up of 20,000-odd objects, covers seven millennia. At the Hôtel d'Heidelbach next door ( 19 Avenue d'Iéna), you'll find Asian furniture and implements for tea ceremonies, which are performed on special dates during the year in the garden's authentic Japanese tea pavilion. Grab a free English-language audioguide and brochure at the museum entrance. If you need a pick-me-up, stop at the Salon des Porcelaines café on the lower level for a ginger milkshake or an Asian-influenced meal. Don't miss the Guimet's spectacular offshoot, the Musée d'Ennery, housed in a Belle Époque mansion on Avenue Foch and noted for its exquisite collection of Japanese netsuke, as well as 3,000 works of Chinese and Japanese art (open Saturday by appointment only via the Musée Guimet website).

Among the city's best small museums, the opulent Musée Jacquemart-André is home to a huge collection of art and furnishings lovingly assembled in the late 19th century by banking heir Edouard André and his artist wife, Nélie Jacquemart, when this was their home. Their midlife marriage in 1881 raised eyebrows—he was a dashing bachelor and a Protestant, and she, no great beauty, hailed from a modest Catholic family. Still, theirs was a happy union fused by a common passion for art. For six months every year, the couple traveled, most often to Italy, where they hunted down works from the Renaissance, their preferred period. Their collection also includes French painters Fragonard, Jacques-Louis David, and François Boucher, plus Dutch masters van Dyck and Rembrandt. The Belle Époque mansion itself is a major attraction. The elegant ballroom, equipped with collapsible walls operated by then-state-of-the-art hydraulics, could hold 1,000 guests. The winter garden was a wonder of its day, spilling into the fumoir, where André would share cigars with the grands hommes (important men) of the time. You can tour the separate bedrooms—his in dusty pink, hers in pale yellow. The former dining room, now an elegant café, features a ceiling by Tiepolo. Don't forget to pick up the free audio guide in English, and do inquire about the current temporary exhibition, which is usually top-notch. Plan on a Sunday visit, and enjoy the popular brunch (€32) in the café from 11 am to 2:30 pm. Reservations are not accepted, so come early or late to avoid waiting in line.

This underrated museum has the largest collection of Monet's work anywhere. More than 100 pieces, donated by his son Michel, occupy a specially built basement gallery in an elegant 19th-century mansion, which was once the hunting lodge of the duke de Valmy. You can find such works as the Cathédrale de Rouen series (1892–96) and Impression: Soleil Levant (Impression: Sunrise), 1872, the painting that helped give the Impressionist movement its name. Other exhibits include letters exchanged by Impressionist painters Berthe Morisot and Mary Cassatt. Upstairs, the mansion still feels like a graciously decorated residence. Empire furnishings fill the salons overlooking the Jardin du Ranelagh on one side and the private yard on the other. There's also a captivating room of illuminated medieval manuscripts. To best understand the collection's context, pick up an English-language audio guide (€4) on your way in.

Home to the world’s largest public collection of Picasso’s inimitable oeuvre, this spectacular museum covers almost 54,000 square feet in two buildings: the splendid 17th-century Hôtel Salé and a sprawling structure in the back garden dedicated to temporary exhibitions. Diego Giacometti’s exclusively designed furnishings in the former are a bonus. The 200,000-plus paintings, sculptures, drawings, documents, and other archival materials (most of them donated to the City of Paris by Picasso or his family members) span the artist's entire career. Although it doesn't include his most recognizable works, it does contain many of the pieces Picasso himself treasured most. The first two floors cover his work from 1895 to 1972. The top floor illustrates his relationship to his favorite artists: landscapes, nudes, portraits, and still life works taken from his private collection detail his "artistic dialogue" with Cézanne, Gauguin, Degas, Rousseau, Matisse, Braque, Renoir, Modigliani, Miró, and others. The basement centers around Picasso’s workshops, with photographs, engravings, paintings, and sculptures that document or evoke key pieces created at the Bateau Lavoir, Château de Boisgeloup, Grands-Augustins, Villa La Californie, and his farmhouse, Notre-Dame-de-Vie, in Mougins. With excellent temporary exhibitions and plenty of multimedia components and activities that cater to kids, this is ideal for children and adult art lovers alike. Buy tickets online well in advance of your planned visit. Also, try to avoid visiting on weekends, when the crowds are largest.

The story of the Camondo family is steeped in tragedy, and it's all recorded within the walls of this superb museum. Patriarch Moïse de Camondo, born in Istanbul to a successful banking family, built his showpiece mansion in 1911 in the style of the Petit Trianon at Versailles and stocked it with some of the most exquisite furniture, wainscoting, artworks, and bibelots of the mid-to-late 18th century. Despite his vast wealth and purported charm, his wife left him five years into their marriage. Then his son, Nissim, was killed in World War I. Upon Moïse's death in 1935, the house and its contents were left to the state as a museum named for his lost son. A few years after Moïse's death, daughter Béatrice, her husband, and two children were deported from France and murdered at Auschwitz. No heirs remained, and the Camondo name died out. Today, the house is an impeccable tribute to Moïse's life. Recent renovations have opened several rooms to the public, including some of the family's private apartments, the kitchen, scullery, and the servant's dining room. There's also a chic contemporary café with a lovely terrace set in the adjoining former garage.

Auguste Rodin (1840–1917) briefly made his home and studio in the Hôtel Biron, a magnificent 18th-century mansion that now houses this museum dedicated to his work. He died rich and famous, but many of the sculptures that earned him a place in art history were originally greeted with contempt by the general public, which was unprepared for his powerful brand of sexuality and raw physicality.

Most of Rodin's best-known sculptures are in the gardens. The front one is dominated by The Gates of Hell (circa 1880), which illustrates stories from Dante's Divine Comedy. Rodin worked on the sculpture for more than 30 years, and it served as a "sketch pad" for many of his later works: you can see miniature versions of The Kiss (bottom right), The Thinker (top center), and The Three Shades (top center). The museum now showcases long-neglected models, plasters, and paintings, which offer insight into Rodin’s creative process. Pieces by other artists from his personal collection are on display as well—including paintings by van Gogh, Renoir, and Monet. There's also a room devoted to works by Camille Claudel (1864–1943), his student and longtime mistress, who was a remarkable sculptor in her own right. An English audio guide (€6) is available for the permanent collection and for temporary exhibitions. Tickets can be purchased online for priority access. If you wish to linger, L'Augustine serves meals and snacks in the shade of the garden's linden trees.

The sculptor Ossip Zadkine spent nearly four decades living in this bucolic retreat near the Jardin du Luxembourg, creating graceful, elongated figures known for their clean lines and simplified features. Zadkine, a Russian-Jewish émigré, moved to Paris in 1910 and fell into a circle of avant-garde artists. His early works, influenced by African, Greek, and Roman art, later took a Cubist turn, no doubt under the influence of his friend, the founder of the Cubist movement, Pablo Picasso. This tiny museum displays a substantial portion of the 400 sculptures and 300 drawings bequeathed to the city by his wife, artist Valentine Prax. There are busts in bronze and stone reflecting the range of Zadkine's style, and an airy back room filled with lithe female nudes in polished wood. The charming, leafy garden contains a dozen statues nestled in the trees, including The Destroyed City, a memorial to the Dutch city of Rotterdam, destroyed by the Germans in 1940.

This mammoth ultramodern facility, designed by architect Carlos Ott and inaugurated in 1989, long ago took over the role of Paris's main opera house from the Opéra Garnier (although both operate under the same Opéra de Paris umbrella). The fabulous acoustics of the steeply sloping, stylish auditorium have earned more plaudits than the modern facade. Like the building, performances tend to be on the avant-garde side—you're as likely to see a contemporary adaptation of La Bohème as you are to hear Kafka set to music. Tickets for Opéra de Paris productions run €15–€230 and generally go on sale at the box office a month before shows, earlier by phone and online. Once the doors open, "standing places" can be purchased for €10 from vending machines in the lobby, but you'll need coins or a credit card (no bills) and patience to snag one, as the lines are long. The opera season usually runs September through July; the box office is open Monday through Saturday 11:30–6:30 and one hour before curtain call. If you just want to look around inside, you can also buy tickets for a 90-minute guided tour (in French only) for €17.

Haunt of the Phantom of the Opera and the real-life inspiration for Edgar Degas's dancer paintings, the gorgeous Opéra Garnier is one of two homes of the National Opera of Paris. The building, the Palais Garnier, was begun in 1860 by then-unknown architect Charles Garnier, who finished his masterwork 15 long years later, way over budget. Festooned with (real) gold leaf, colored marble, paintings, and sculpture from the top artists of the day, the opera house was about as subtle as Versailles and sparked controversy in post-Revolutionary France. The sweeping marble staircase, in particular, drew criticism from a public skeptical of its extravagance. But Garnier, determined to make a landmark that would last forever, spared no expense. The magnificent grand foyer is one of the most exquisite salons in France. In its heyday, the cream of Paris society strolled all 59 yards of the vast hall at intermission, admiring themselves in the towering mirrors. To see the opera house, buy a ticket for an unguided visit, which allows access to most parts of the building, including a peek into the auditorium. There is also a small ballet museum with a few works by Degas and the tutu worn by prima ballerina Anna Pavlova when she danced her epic Dying Swan in 1905. To get to it, pass through the unfinished entrance built for Napoléon III and his carriage (construction was abruptly halted when the emperor abdicated in 1870). On the upper level, you can see a sample of the auditorium's original classical ceiling, which was later replaced with a modern version painted by a septuagenarian Marc Chagall. His trademark willowy figures encircling the dazzling crystal chandelier—today the world's third largest—shocked an unappreciative public upon its debut in 1964. Critics who fret that Chagall's masterpiece clashes with the fussy crimson-and-gilt decor can take some comfort in knowing that the original ceiling is preserved underneath, encased in a plastic dome.

The Opéra Garnier hosts the Paris Ballet as well as a few operas each season (most are performed at the Opéra Bastille). Tickets cost €10–€230 and should be reserved as soon as they go on sale—typically a month ahead at the box office, earlier by phone or online; otherwise, try your luck last-minute. To learn about the building's history, and get a taste of aristocratic life during the Second Empire, take an entertaining English-language tour (daily at 11 am and 2:30 pm, €14) or rent an audioguide (€5) and proceed at your own pace. To complete the experience, dine at Coco—an over-the-top Belle Époque folie recalling the glamorous 1920s and helmed by chef Julien Chicoisne—or browse through the Palais Garnier gift shop for ballet-inspired wares, fine Bernardaud porcelain depicting the famous Chagall ceiling, a jar of honey from the Opéra's own rooftop hives, and an exceptional selection of themed DVDs and books.

The city's Museum of Fashion occupies a suitably fashionable mansion—the 19th-century residence of Marie Brignole-Sale, Duchess of Galliera. Inside, the exhibition spaces, now on two floors, focus on costume and clothing design (a recent retrospective, for instance, honored the visionary Coco Chanel). Covering key moments in fashion history and showcasing iconic French designers, the museum's collection includes 200,000 articles of clothing and accessories that run the gamut from basic streetwear to haute couture. Galleries at the garden level focus on fashion history from the 18th century to the present via pieces from the permanent collection. Details on shows are available on the museum website. Don't miss the lovely 19th-century garden that encircles the palace, a favorite spot for neighborhood Parisians to take a coffee and a book.

This truly Parisian garden is enclosed within the former home of Cardinal Richelieu (1585–1642). The 400-year-old arcades now house boutiques and one of the city's oldest restaurants, the haute-cuisine Le Grand Véfour, where brass plaques recall former regulars like Napoléon and Victor Hugo. Built in 1629, the palais became royal when Richelieu bequeathed it to Louis XIII. Other famous residents include Jean Cocteau and Colette, who wrote of her pleasurable "country" view of the province à Paris. It was also here, two days before the Bastille was stormed in 1789, that Camille Desmoulins gave an impassioned speech sowing the seeds of Revolution. Today, the garden often hosts giant temporary art installations sponsored by another tenant, the Ministry of Culture. The courtyard off Place Colette is outfitted with an eye-catching collection of squat black-and-white columns created in 1986 by artist Daniel Buren.

Rome has St. Peter's, London has St. Paul's, and Paris has the Panthéon, whose enormous dome dominates the Left Bank. Built as the church of Ste-Geneviève, the patron saint of Paris, it was later converted to an all-star mausoleum for some of France's biggest names, including Voltaire, Zola, Dumas, Rousseau, and Hugo. Pierre and Marie Curie were reinterred here together in 1995, and feminist-politician Simone Veil became only the fifth woman in this illustrious group when she was entombed in 2018. Begun in 1764, the building was almost complete when the French Revolution erupted. By then, architect Jacques-German Soufflot had died—supposedly from worrying that the 220-foot-high dome would collapse. He needn't have fretted: the dome was so perfect that Foucault used it in his famous pendulum test to prove the Earth rotates on its axis. Today the crypt, nave, and dome still sparkle (the latter offering great views), and Foucault's pendulum still holds pride of place on the main floor, slowly swinging in its clockwise direction and reminding of us of Earth's eternal spin.

A lake, a butterfly garden, a bonsai pavillion, and seasonal displays of blooms make the Bois de Vincennes's 70-acre floral park a lovely place to spend a warm afternoon. Kids will also enjoy the extensive playgrounds and the marionette (guignol) theater. A café and a sit-down tea salon make dining easy, but picnicking under the trees is highly recommended, especially when the park hosts jazz and classical concerts (most weekends from June through September). In winter months, some attractions may be closed.

The oldest square in Paris and—dare we say it—the most beautiful, Place des Vosges represents an early stab at urban planning. The precise proportions offer a placid symmetry, but things weren't always so calm here. Four centuries ago, this was the site of the Palais des Tournelles, home to King Henry II and Queen Catherine de Medici. The couple staged regular jousting tournaments, and Henry was fatally lanced in the eye during one of them in 1559. Catherine fled to the Louvre, abandoning her palace and ordering it destroyed. In 1612, the square became Place Royale on the occasion of Louis XIII's engagement to Anne of Austria. Napoléon renamed it Place des Vosges to honor the northeast region of Vosges, the first in the country to pony up taxes to the Revolutionary government. At the base of the 36 redbrick-and-stone houses—nine on each side of the square—is an arcaded, covered walkway lined with art galleries, shops, and cafés. There's also an elementary school, a synagogue (whose barrel roof was designed by Gustav Eiffel), and several chic hotels. The formal, gated garden's perimeter is lined with chestnut trees; inside are a children's play area and a fountain. Aside from hanging out in the park, people come here to visit the house, now a museum, of the man who once lived at No. 6—Victor Hugo, the author of Les Misérables and Notre-Dame de Paris (aka The Hunchback of Notre-Dame).

One of the best things about this park is that you're actually allowed to sit—or snooze or snack—on the grass during spring and summer.

There is no better spot in the Marais for a picnic: you can pick up fixings at the nearby street market on Thursday and Sunday mornings. (It's on Boulevard Richard Lenoir between Rues Amelot and St-Sabin.) The most likely approach to Place des Vosges is from Rue de Francs-Bourgeois, the main shopping street. However, for a grander entrance, walk along Rue St-Antoine until you get to Rue de Birague, which leads directly into the square.

Rue Montorgueil was once the gritty oyster hub of Les Halles, but now lined with food shops and cafés, the cobbled street—whose name translates to Mount Pride—is the heart of one of the city's most culinary neighborhoods. History runs deep here. Monet captured the scene in 1878, when Montorgueil was ablaze with tricolor flags during the World's Fair (see the painting in the Musée d'Orsay). Honoré de Balzac and his 19th-century band of scribes frequented Au Rocher de Cancale at No. 78, whose famously crumbling facade has been painstakingly restored with gilt panache. Other addresses have been around for centuries: Stohrer at No. 51 has been baking elaborate pastries since 1730, and L'Escargot Montorgueil at No. 38, a favorite of Charlie Chaplin, is still graced by a giant golden snail evoking its most popular menu item. Relative newcomers include the luxury Nuxe spa at Nos. 32–34 and the Fou de Pâtisseries pastry shop at No. 45. The street extends onto Rue des Petits-Carreaux just before Sentier métro, home to an outpost of excellent Breton crêperie Breizh Café at No. 14. Browse the boutiques on Rue Montmartre, which runs parallel, or shop for cookware at Julia Child's old haunt, E. Dehillerin, still in business at 18–20 rue Coquillière. Rue Tiquetonne is rife with bistros, and once sleepy Rue St-Sauveur became a destination when the Experimental Cocktail Club (No. 37) moved in, joined by other trendy eating and drinking spots. The diminutive Rue du Nil is a foodie haven, home to Frenchie restaurant (No. 5) and wine bar (No. 6) as well as Terroirs d'Avenir's locavore shops and Plaq (No. 4), known for bean-to-bar chocolate. Even the area around Rue d'Aboukir, once far scruffier, is now a hipster fave thanks to the arrival of American-style baked goods like Boneshaker's doughnuts (No. 86) and Cookie Love's cookies (No. 84), as well as brunch spots Echo (No. 95) and Maafim ( 5 rue des Forges).

This winding cobblestone street is one of the city's oldest and was once a Roman road leading south from Lutetia (the Roman name for Paris) to Italy. The upper half is dotted with restaurants and bars that cater to tourists and students; the lower half is the setting of a lively morning market, Tuesday through Sunday. The highlight of le Mouffe, though, is the stretch in between where the shops spill into the street with luscious offerings such as roasting chickens and potatoes, rustic saucisson, pâtés, and pungent cheeses, especially at Androuët (No. 134). If you're here in the morning, Le Mouffetard Café (No. 116) is a good place to stop for a continental breakfast (about €10). If it's apéritif time, head to Place de la Contrescarpe for a cocktail, or enjoy a glass of wine at Cave La Bourgogne (No. 144). Prefer to just do a little noshing? Sample the chocolates at Mococha (No. 89) or the gelato at Gelati d'Alberto (No. 45). Note that most shops are closed on Monday.

The English-language bookstore Shakespeare and Company is one of Paris's most eccentric and lovable literary institutions. Founded by George Whitman, the maze of new and used books has offered a sense of community (and often a bed) to wandering writers since the 1950s. The store takes its name from Sylvia Beach's original Shakespeare & Co., which opened in 1919 at 12 rue d'Odéon, welcoming the likes of Ernest Hemingway, James Baldwin, and James Joyce. Beach famously bucked the system when she published Joyce's Ulysses in 1922, but her original store closed in 1941. After the war, Whitman picked up the gauntlet, naming his own bookstore after its famous predecessor.

When Whitman passed away in 2011, heavy-hearted locals left candles and flowers in front of his iconic storefront. He is buried in the literati-laden Père-Lachaise cemetery; however, his legacy lives on through his daughter Sylvia, who runs the shop and welcomes a new generation of Paris dreamers. Walk up the almost impossibly narrow stairs to the second floor and you'll still see laptops and sleeping bags tucked between the aging volumes and under dusty daybeds; it's sort of like a hippie commune. A revolving cast of characters helps out in the shop or cooks meals for fellow residents. They're in good company; Henry Miller, Samuel Beckett, and William Burroughs are among the famous writers to benefit from the Whitman family hospitality.

Today, you can still count on a couple of characters lurking in the stacks, a sometimes spacey staff, the latest titles from British presses, and hidden secondhand treasures in the odd corners and crannies. Check the website for readings and workshops throughout the week.

Simply put, the Louvre is the world's greatest art museum—and the largest, with 675,000 square feet of works from almost every civilization on Earth. The Mona Lisa is, of course, a top draw, along with the Venus de Milo and Winged Victory. These and many more of the globe’s most coveted treasures are displayed in three wings—Richelieu, Sully, and Denon—which are arranged like a horseshoe around I. M. Pei's Pyramide. The giant glass pyramid surrounded by a trio of smaller ones opened in 1989 over the new entrance in the Cour Napoléon.

While booking admission tickets online in advance is no longer required, it's the best way to avoid disappointment: the €17 timed entry guarantees admission while €15 tickets bought on-site are only sold when space is available—and given a recent decision to limit daily visitors to 30,000 (a third of the previous norm), it's unlikely that spontaneous appearances at the museum will result in a successful visit. Slick Nintendo 3DS multimedia guides (€5), available at the entrance to each wing, offer a self-guided discovery of the museum in a variety of languages, and extended openings (noctournes) on Friday evenings allow you to visit the museum until 9:45 pm.

Having been first a fortress and later a royal residence, the Louvre represents a saga that spans nine centuries. Its medieval roots are on display underground in the Sully wing, where vestiges of the foundation and moat remain. Elsewhere in this wing, you can ogle the largest display of Egyptian antiques outside of Cairo, most notably the magnificent statue of Ramses II (Salle 12). Upstairs is the armless Venus de Milo, a 2nd-century representation of Aphrodite (Salle 7). Highlights of the wing’s collection of French paintings from the 17th century onward include The Turkish Bath by Jean-August-Dominique Ingres (Salle 60). American Cy Twombly’s contemporary ceiling in Salle 32 adds a 21st-century twist. In the Denon wing, climb the sweeping marble staircase (Escalier Daru) to see the sublime Winged Victory of Samothrace, carved in 305 BC. This wing is also home to the iconic, enigmatic Mona Lisa (Salle 711); two other Leonardo da Vinci masterpieces hang in the nearby Grand Galerie. The museum’s most recent architectural wonder is here as well—the 30,000-square-foot Arts of Islam exhibition space, which debuted in 2012. Topped with an undulating golden roof evoking a flowing veil, its two-level galleries contain one of the largest collections of art from the Islamic world. After admiring it, be sure to visit the Richelieu wing and the Cour Marly, with its quartet of horses carved for Louis XIV and Louis XV. On the ground floor, the centerpiece of the Near East Antiquities Collection is the Lamassu, carved 8th-century winged beasts (Salle 4). The elaborately decorated Royal Apartments of Napoléon III are on the first floor. On the second floor, French and Northern School paintings include Vermeer's The Lacemaker (Salle 38).

For centuries, this 170-foot bell tower guided pilgrims to a starting point of the Chemin de St-Jacques (Way of Saint James). Built in 1508 in the Flamboyant Gothic style, it's all that remains of the Église St-Jacques-de-la-Boucherie, which was destroyed in the French Revolution. Purchased by the city in 1836, the tower languished until a three-year renovation, completed in 2009, restored 660 tons of stone and statues, including the gargoyles hanging from the upper reaches and the figure of Saint James gracing the top. Blaise Pascal was among the medieval scientists who conducted experiments here (his involved gravity), which is why his statue sits at the base. If you wish to enter the tower, guided tours are occasionally offered in summer and fall by reservation only.