15 Best Sights in Provence, France

Housed in two elegant 17th-century mansions, this impressive assembly of contemporary artworks came out of the private collection of Paris art dealer Yvon Lambert, who founded the museum in 2000 in honor of Avignon's designation as European Capital of Culture. The museum is known both for the breadth of its collection—more than 1,200 pieces dating from the 1960s to the present—and the scope of its three to four major exhibitions per year, as well as its cultural events, lectures, and arts eduction programs, done independently or in conjunction with other arts institutions worldwide. The foundation closes three months out of the year between exhibitions, so be sure to check before going. The impressive bookshop carries dozens of original, limited-edition works by artists represented in the collection, including prints by Cy Twombly, Sol LeWitt, and Jenny Holzer, and the breezy courtyard café offers gourmet snacks, beverages, and light lunches under the shade of sleepy plane trees.

This colossal palace creates a disconcertingly fortresslike impression, underlined by the austerity of its interior. Most of the original furnishings were returned to Rome with the papacy; others were lost during the French Revolution. Some imagination is required to picture the palace's medieval splendor, awash with color and with worldly clerics enjoying what the 14th-century Italian poet Petrarch called "licentious banquets." On close inspection, two different styles of building emerge at the palace: the severe Palais Vieux (Old Palace), built between 1334 and 1342 by Pope Benedict XII, a member of the Cistercian order, which frowned on frivolity, and the more decorative Palais Nouveau (New Palace), built in the following decade by the artsy, lavish-living Pope Clement VI. The Great Court, entryway to the complex, links the two.

The main rooms of the Palais Vieux are the Consistory (Council Hall), decorated with some excellent 14th-century frescoes by Simone Martini; the Chapelle St-Jean, with original frescoes by Matteo Giovanetti; the Grand Tinel, or Salle des Festins (Feast Hall), with a majestic vaulted roof and a series of 18th-century Gobelin tapestries; the Chapelle St-Martial, with more Giovanetti frescoes; and the Chambre du Cerf, with a richly decorated ceiling, murals featuring a stag hunt, and a delightful view of Avignon. The principal attractions of the Palais Nouveau are the Grande Audience, a magnificent two-nave hall on the ground floor, and, upstairs, the Chapelle Clémentine, where the college of cardinals once gathered to elect the new pope. To get the most out of the experience, consider a €2 audio tour.

Although this disconcertingly fortresslike palace seems like just one colossal building, it actually consists of two different structures: the severe Palais Vieux (Old Palace), built between 1334 and 1342 by Pope Benedict XII, a member of the Cistercian order, which frowned on frivolity, and the more decorative Palais Nouveau (New Palace), built in the following decade by the artsy, lavish-living Pope Clement VI. The Great Court, entryway to the complex, links the two. The interiors are austere—many original furnishings were returned to Rome with the papacy, and others were lost during the French Revolution—so some imagination is required to picture the medieval splendor, awash with color and with worldly clerics enjoying what the 14th-century Italian poet Petrarch called "licentious banquets."

The main rooms of the Palais Vieux are the Consistory (Council Hall), decorated with some excellent 14th-century frescoes by Simone Martini; the Chapelle St-Jean, with original frescoes by Matteo Giovanetti; the Grand Tinel, or Salle des Festins (Feast Hall), with a majestic vaulted roof and a series of 18th-century Gobelin tapestries; the Chapelle St-Martial, with more Giovanetti frescoes; and the Chambre du Cerf, with a richly decorated ceiling, murals featuring a stag hunt, and a delightful view of Avignon. The principal attractions of the Palais Nouveau are the Grande Audience, a magnificent two-nave hall on the ground floor, and, upstairs, the Chapelle Clémentine, where the college of cardinals once gathered to elect new popes.

Set on a bluff above town, this lush hilltop garden has grand Mediterranean pines, a man-made lake (complete with camera-ready swans), plus glorious views of the palace, the rooftops of Old Avignon, the Pont St-Bénézet, and formidable Villeneuve across the Rhône. On the horizon loom Mont Ventoux, the Luberon, and Les Alpilles. The garden has lots of history as well: often called the "cradle of Avignon," its rocky grottoes were among the first human habitations in the area.

Built in a pure Provençal Romanesque style in the 12th century, this cathedral was soon dwarfed by the extravagant palace that rose beside it. The 14th century saw the addition of a cupola, which promptly collapsed. As rebuilt in 1425, the cathedral is a marvel of stacked arches with a strong Byzantine flavor and is topped with a gargantuan Virgin Mary lantern—a 19th-century afterthought—whose glow can be seen for miles around.

This graceful, old 17th-century Jesuit cloister has been converted for office use by the well-known Avignon Festival—a performing arts event that lasts most of the month of July. The cloister's symmetrical arches (now partly enclosed as the sleek Hôtel Cloître St-Louis) are shaded by ancient plane trees. You can wander around the courtyard after you've picked up your festival information. Occasional exhibitions are held inside as well.

By 6 am every day but Monday, merchants and artisans have stacked their herbed cheeses and arranged their vine-ripened tomatoes with surgical precision in arrangements that please the eye. This permanent covered market is as far from a farmers' market as you can get, each booth a designer boutique of haute de gamme (top-quality) goods, from jewel-like olives to silvery mackerel to racks of hanging hares worthy of a Flemish still life. Even if you don't have a kitchen to stock, consider enjoying a cup of coffee or a glass of (breakfast) wine while you take in the sights and smells. You can also tuck into a plate of freshly shucked oysters and a pichet of the crisp local white.

More than 4 km (2½ miles) long, these crenellated walls and towers were built by the popes in the 14th century to keep out rampaging brigands and mercenary armies attracted by legends of papal wealth. They’re extraordinarily well preserved, thanks in part to the efforts of architect Eugène-Emmanuel Viollet-le-Duc, who restored the southern portion in the 19th century. Modern-day Avignon roars around its impervious walls on a noisy ring road that replaced a former moat.

This superb collection of major 18th- to 20th-century paintings and decorative arts was assembled by Parisian couturier Jacques Doucet (1853–1929), who befriended many of the major painters and writers of his day and, with an unerring eye, purchased—or funded—some of the great works of the 20th century (he was the original owner of Picasso's Les Demoiselles d'Avignon). He built this mansion toward the end of his life to house works by Degas, van Gogh, Manet, Cézanne, Modigliani, and Picasso, along with important drawings, sculpture, photography, and furniture. The museum also hosts temporary exhibitions.

Worth a visit for the beauty and balance of its architecture alone, this fine old museum contains a rich collection of antiquities and classically inspired works. Acquisitions include neoclassical and Romantic pieces and are almost entirely French, including works by Manet, Daumier, and David. There's also a good modern section, with pieces by Bonnard, Duffy, and Camille Claudel (note Claudel's piece depicting her brother Paul, who incarcerated her in an insane asylum when her relationship with Rodin caused too much scandalous talk). The main building itself is a Palladian-style jewel in pale Gard stone dating to the 1740s; the garden is so lovely that it may distract you from the art.

This residence of bishops and cardinals before Pope Benedict XII built his majestic palace houses a large collection of old-master paintings, most of which are Italian works from the early Renaissance schools of Siena, Florence, and Venice—styles with which the Avignon popes would have been familiar. Later pieces here include Sandro Botticelli's Virgin and Child and Venetian paintings by Vittore Carpaccio and Giovanni Bellini. The museum café and tearoom, with a picturesque outdoor terrace in the mansion's ancient courtyard, is a favorite spot for lunch, coffee, or teatime (open 10–7).

Housed in a pretty little Jesuit chapel on the main shopping street, this collection of sculpture and stonework is primarily from Gallo-Roman times but also includes Greek and Etruscan works. There are several interesting inscribed slabs, a selection of shabtis (small statues buried with the dead to help them get to the afterlife), and a notable depiction of Tarasque of Noves, the man-eating monster immortalized by Alphonse Daudet. Most items, unfortunately, are haphazardly labeled and insouciantly scattered throughout the chapel, itself slightly crumbling yet awash with light.

Don't bother to rush to this eccentric little natural history museum, but since it's next door to the Calvet Museum (and free) you might want to stop in and check out the petrified palm trunks, the dinosaur skeleton, the handful of local beetles and mammals, and the careful and evocative texts (French only) that accompany them. The museum is named for a local naturalist and functions as an entrance to the massive library of natural history upstairs.

Shaded by plane trees, this square is the social nerve center of Avignon, with a concentration of bistros, brasseries, cafés, and restaurants that draw swarms of locals.

Unlike the London Bridge, this other subject of a childhood song (and a UNESCO World Heritage site) stretches only partway across the river. After generations of war and flooding, only half of the arched pont (bridge) remained by the 17th century. Its first stones were allegedly laid with the miraculous strength granted St-Bénezet in the 12th century, and it once reached all the way to Villeneuve. It's a bit narrow for dancing "tous en rond" (round and round), and the traditional place for dance and play was under the arches. You can climb along its high platform for broad views of the Old Town ramparts. The ticket price includes an audio guide or tablet, and the latter (for which you'll need to show your passport or driver’s license) illustrates how the bridge appeared in medieval times.