59 Best Sights in Nîmes and Arles, Provence

This magnificent Romanesque abbey looming over the marshlands north of Arles stands in partial ruin. Founded in the 10th century by a handful of Benedictine monks, the abbey grew according to an ambitious plan of church, crypt, and cloister and, under the management of worldly lay monks in the 17th century, became more sumptuous. When the Catholic church ejected those monks, they sacked the place, and what remained was eventually sold off as scrap. A 19th-century medieval revival spurred a partial restoration, but portions are still in ruins; what remains is a spare and beautiful piece of Romanesque architecture.

The cloister rivals that of St-Trophime in Arles for its balance, elegance, and air of mystical peace. Van Gogh, drawn to isolation, came often to the abbey to reflect, but the strong mistral winds kept him from painting here. The interior, renovated by architect Rudy Ricciotti, is used for world-class contemporary art exhibitions.

Rivaled only by the even better-preserved version in Nîmes, the arena dominating old Arles was built in the 1st century AD to seat 21,000 people, with large tunnels through which wild beasts were forced to run into the center. Before being plundered in the Middle Ages, the structure had three stories of 60 arcades each; the four medieval towers are testimony to a transformation from classical sports arena to feudal fortification. Complete restoration of the arena began in 1825. Today it's primarily a venue for the traditional spectacle of the corridas, which take place annually during the féria pascale, or Easter festival. The less bloodthirsty local variant course carmarguaise (in which the bull is not killed) also takes place here. Festival season starts with the Fête des Gardians on May 1, when the Queen of Arles is crowned, and culminates in early July with the award of the Cocarde d'Or (Golden Rosette) to the most successful raseteur. It's best to book event tickets in advance.

The best-preserved Roman amphitheater in the world is a miniature of the Colosseum in Rome (note the small carvings of Romulus and Remus, the wrestling gladiators on the exterior, and the intricate bulls' heads etched into the stone over the entrance on the north side). More than 435 feet long and 330 feet wide, it had a seating capacity of 24,000 in its day. Bloody gladiator battles, criminals being thrown to animals, and theatrical wild-boar chases drew crowds to its bleachers. Nowadays it hosts summer concerts, as well as bullfights that transform the arena (and all of Nîmes) into a sangria-flushed homage to Spain. Self-guided audio tours are available.

This vast old limestone quarry has 66-foot-high stone walls that make a dramatic setting for a multimedia show in which thousands of images are projected onto the walls. Exhibitions change yearly, but past showings have showcased the life and work of Picasso, Van Gogh, Dalí, and Cézanne, and more recent ones have featured Monet and Rousseau.

Near the northern shore of the Etang de Vaccarès, this unique cultural center, funded by the Ricard family of pastis fame and set on one of the larger estates in the Camargue, is a place to meet gardiens (French cowboys) and learn about the taureau, or bull—virtually a totemic creature in these parts. You’ll also gain a better understanding of the regional spectacle known as the course camarguaise, in which raseteurs (runners) try to pluck off a red cockade and two white tassels mounted on the bull’s horns. There is no mise à mort (as in Spanish-style corridas, or bullfights), so the bulls live to enter the arena again and again—some even become such celebrities that they make the covers of French magazines.

Other activities include touring an on-site museum, where exhibits detail the remarkable history of Paul Ricard and the estate; hopping aboard a petit train for a 20-minute tour of the marshlands; or mounting a horse or pony for a beachside trot. At Chez Hélène et Néné restaurant, you can feast on Camargue seafood while gazing at the beach and the ocean. If you want to stay the night, the property has several charming accommodation options—from guest rooms to cottages to colorful wooden, Roma-style caravans. The estate is 36 km (22 miles) east of Aigues-Mortes via the D58, D570, and RD37/D37 and 27 km (17 miles) northeast of Stes-Maries-de-la-Mer via the D570 and RD37/D37.

The hospital to which the tortured Van Gogh repaired after cutting off his earlobe is a strikingly resonant site. Its courtyard has been impeccably restored and landscaped to match one of Van Gogh's paintings. The cloistered grounds have become something of a shrine for visitors, and there is a photo plaque comparing the renovation to some of the master's paintings, including Le Jardin de la Maison de Santé. The exhibition hall is open for temporary shows; the garden is always on view.

This arts center focuses on the pioneers of contemporary art and culture, bringing together sculpture, painting, dance, philosophy, literature, gastronomy, sustainability, and design. It has several spaces used for cutting-edge exhibitions and workshops geared toward art lovers and the curious of all ages, and its Frank Gehry building, a twisting silo sheathed in glittering silver scales, is spectacular.

The newest museum in Nîmes is impossible to miss: first for its location, just opposite the Arènes, and second for its exterior featuring a gleaming, translucent facade meant to evoke a Roman toga. Exhibits inside this luminous edifice showcase the city's Roman past with more than 5,000 artifacts, as well as touch screens, interactive displays, and other state-of-the art features that will delight both adults and kids. Highlights include intact mosaics discovered during recent excavations, a model of a domus (Roman house), and a green roof with panoramic views of the amphitheater and all the city's major sites. The sidewalk café is great for a quick lunch or afternoon drink, and the upstairs La Table du 2—which also has impressive views—is a Michelin-starred brasserie that serves lunch and dinner.

The centerpiece of this early-20th-century building, stunningly refurbished by architect Jean-Michel Wilmotte, is a vast ancient mosaic depicting a marriage ceremony that provides intriguing insights into the lifestyle of Roman aristocrats. Also in the varied collection are seven paintings devoted to Cleopatra by 18th-century Nîmes-born painter Natoire Italian, plus some fine Flemish, Dutch, and French works (notably Rubens's Portrait of a Monk and Giambono's The Mystic Marriage of St. Catherine).

The ancient Roman aqueduct is shockingly noble in its symmetry, and its strong arches are a testimony to engineering concepts that were relatively new in the 1st century AD, when the structure was built under Emperor Claudius. Today, the surrounding nature is unsullied, with the Gardon River flowing through a rocky gorge unperturbed by the work of master engineering that straddles it. In fact, one of the preferred ways of viewing the bridge is via canoe or kayak, which are for rent upstream.

You can approach the aqueduct from either side of the Gardon River. If you choose the south side (Rive Droite), the walk to the pont (bridge) is shorter and the views arguably better. Although the spectacular walkway along the top of the aqueduct is now off-limits, the sight of the bridge is still breathtaking. The nearby Espaces Culturels details the rich history of the bridge—and Roman France at the time—and includes an interactive area for kids.

Directly opposite the Maison Carrée and looking a bit like an airport terminal, the glass-fronted Carrée d'Art was designed by British architect Sir Norman Foster. It literally reflects the Maison Carrée's creamy symmetry and figuratively answers it with a featherlight deconstructed colonnade. In addition to a library and archives, the sleek, modern structure houses the Musée d'Art Contemporain (Contemporary Art Museum), with a permanent collection of works that date from 1960 and onward and fall into three categories: French painting and sculpture; English, American, and German works; and Mediterranean styles. There are often temporary exhibits of new work, too. Atop the museum, enjoy spectacular city views over lunch at the Ciel de Nîmes. The restaurant, which closes at 6 pm, is also an excellent spot for afternoon tea or a drink.

Nîmes Cathedral was damaged by Protestants during the 16th-century Wars of Religion but still shows traces of its original construction in 1096. A remarkably preserved Romanesque frieze portrays Adam and Eve cowering in shame, the gory slaughter of Abel, and a flood-wearied Noah. Inside, look for the 4th-century sarcophagus (third chapel on the right) and a magnificent 17th-century chapel in the apse.

The onetime home of the Bishops of Uzès, the original Saint-Théodont was built in 1090 on the site of a Roman temple, but it was demolished during the ensuing religious wars. Though the impressive Fenestrelle Tower—a ringer for the Tower of Pisa minus the tilt—remains, it is too delicate to actually visit. The 19th-century neo-Romanesque facade shelters a pared-down interior and one of the oldest pipe organs in France. The views from the grounds are lovely.

At the easternmost point of the Etang du Vaccarès, La Capeliére has a good visitor center with maps as well as exhibits on wildlife. There are three sentiers de découverte (discovery trails) radiating from its pond-side position, each leading to a small observatory.

You can pick up maps and get other information at this center, just up the D570 from the Parc Ornithologique at Pont de Gau. To explore this area, you'll have to strike out on foot, bicycle, or horseback (the park's website has a downloadable English-language brochure with stables clearly marked on a map). Note that you are not allowed to diverge from marked trails.

Despite Tarascon's modern-day drawbacks, with the walls of its formidable château plunging straight into the roaring Rhône, this ancient city on the river presents a daunting challenge to Beaucaire, its traditional enemy across the water. Begun in the 15th century by the noble Anjou family on the site of a Roman castellum, the castle grew through the generations into a splendid structure, crowned with both round and square towers and elegantly furnished. René the Good (1409–80) held court here, entertaining luminaries of the age.

The castle owes its superb preservation to its use, through the ensuing centuries, as a prison. It first served as such in the 17th century, and it released its last prisoner in 1926. Complete with a moat, a drawbridge, and a lovely faceted spiral staircase, it retains its beautiful decorative Renaissance stonework and original cross-mullioned windows.

Summering in the Château de Montauban brought French journalist and author Alphonse Daudet a peace he missed in literary Paris. Daudet frequently climbed the windswept, pine-studded hilltop to the rustic old windmill that ground the local grain from 1814 to 1915—the inspiration for his famous folkloric short stories Lettres de Mon Moulin. The windmill is now closed to the public, but the graceful château houses a museum devoted to Daudet's writings, and you can freely stroll the grounds to enjoy the peace and sweeping views of the Rhône valley and the Alpilles that so inspired him.

A massive stone edifice with a striking silhouette, the Château des Baux once capped the imposing 13th-century fortress of the powerful Lords of Baux, who claimed descent from Balthazar, one of the three magi. The wide and varied grounds contain ruins of the Sarrazine and Paravelle towers, the tiny Chapelle St-Blaise, a dovecote, and a hospital (now a garden). At the fortifications’ highest point, you’ll understand the strategic importance of this sprawling 12-acre site whose panorama of Provence stretches from Aix to Arles and, on a clear day, to the Mont Ventoux and beyond.

This peaceful haven, one of the loveliest cloisters in Provence, is tucked discreetly behind St-Trophime, the notable Romanesque treasure. A sturdy walkway above the Gothic arches offers good views of the town.

St-Rémy is wrapped by a lively commercial boulevard, lined with shops and cafés and anchored by its 19th-century church Collégiale St-Martin. Step inside—if the main door is locked, the side door is always open—to see the magnificent 5,000-pipe modern organ, one of Europe's loveliest. Rebuilt to 18th-century specifications in the early 1980s, it has the flexibility to interpret new and old music with pure French panache; you can listen for free on weekends mid-April–September.

Entering through the elegant 17th-century City Hall, you can gain access to these ancient underground passages dating from 30–20 BC. The horseshoe of vaults and pillars buttressed the ancient forum from belowground. Used as a bomb shelter in World War II, the galleries still have a rather ominous atmosphere. Yet openings let in natural daylight and artworks of considerable merit have been unearthed here, adding to the mystery of the site's original function.

Once prolific here, many Camargue vineyards succumbed to the saline soils. Around Aigues-Morte, home of the Sable de Camargue appellation, you can taste gris-de-gris and granache-gris rosé wines made from red grapes pressed to keep a faint blush without maceration of the skins. Domaine Terres de Sable’s vineyards might date from 1800, but the estate has a modern cellar where you can taste (€15) its all-organic wines. Make reservations online.

The Middle Ages, the Renaissance, and the 17th century are on display at the 1,000-year-old-and-counting residence of the Dukes of Uzès (when the blue flag is flying you know the duke is at home). Tours (in French) from the cellars to the Bermonde tower narrate the history of the castle (which is also basically the history of France), including one of its most colorful residents, Anne de Mortemart, wife of the 12th duke. She was the first woman in France to earn a driver's license and also the first to get a speeding ticket.

This mammoth, Romanesque fortress-church, built in the 9th century, is almost devoid of windows, and its tall, barren nave is cluttered with florid and sentimental ex-votos (tokens of blessings, prayers, and thanks) and primitive artworks depicting the famous trio of Marys. For €3, you can climb up to the terrace for a panoramic view of the Camargue (hours vary depending on the season).

At the corner of a picturesque Place Saint-Louis in the heart of the old town, this 13th-century church mixes a sober Romanesque architecture with graceful Gothic elements in its flying buttresses and lovely rose window. It was built in the 13th century to commemorate Saint Louis’s final crusades, and a statue of the saint and king, who was monarch when the church was built, stands in the square. Though the church was ransacked by the Protestants in the 15th century and suffered damage during the Revolution, a sensitive restoration has returned it to its medieval splendor, although with modern windows. The rounded towers and square belltower are typical of the local architecture.

Classed as a world treasure by UNESCO, this extraordinary Romanesque church alone would justify a visit to Arles. The side aisles date from the 11th century and the nave from the 12th. The church's austere symmetry and ancient artworks (including a stunning early Christian sarcophagus) are fascinating. But it's the church's superbly preserved Romanesque sculpture on its 12th-century portal, the renovated entry facade, that earns it international respect. Particularly remarkable is the frieze of the Last Judgment, with souls being dragged off to Hell in chains or, on the contrary, being lovingly delivered into the hands of the saints. Christ is flanked by his chroniclers, the evangelists: the eagle (John), the bull (Luke), the angel (Matthew), and the lion (Mark).

Located in the beautifully restored 15th-century Hôtel Léautaud de Donines, this foundation pays homage to Van Gogh's legacy and monumental influence with an impressive range of artworks contributed by 90 contemporary artists. It also hosts temporary art exhibitions, concerts, and other cultural events. Van Gogh's 15-month stay in Arles represented a climax in the artist's career. Enchanted with Arles's limpid light, vibrant landscape, and scenic monuments, Van Gogh experienced here what was to be his greatest blossoming as a painter.

A slick visitor center prepares you for entry into the ancient village of Glanum, with scale models of the site in its various heydays. A good map and an English brochure guide you stone by stone through the maze of foundations, walls, towers, and columns that spread across a broad field; helpfully, Greek sites are denoted by numbers, Roman ones by letters. Note that Glanum is across the street from Les Antiques and set back from the D5, and the only parking is in a dusty roadside lot on the D5 south of town (in the direction of Les Baux). In addition, hours vary, so check ahead.

Vestiges of the Renaissance remain in Les Baux, including the pretty Hôtel de Manville, built at the end of the 16th century by a wealthy Protestant family. Step into its inner court to admire the mullioned windows, stained glass, and vaulted arcades. Today it serves as the mairie (town hall). Up and across the street, the striking remains of the 16th-century Protestant temple still bear a quote from Jean Calvin: "post tenebras lux" ("after the shadows, light").

Make your way to the Hôtel de Sade, a 15th- and 16th-century private manor now housing the treasures unearthed from the ruins of Glanum. The de Sade family built the house around remains of 4th-century baths and a 5th-century baptistery, now nestled in its courtyard.