19 Best Sights in Provence, France

Founded in the 4th century by St-Cassien, who sailed into Marseille full of fresh ideas on monasticism that he acquired in Palestine and Egypt, this church grew to formidable proportions. With a Romanesque design, the structure would be as much at home in the Middle East as its founder was. The crypt, St-Cassien's original, is preserved beneath the medieval church, and in the evocative nooks and crannies you can find the 5th-century sarcophagus that allegedly holds the martyr's remains. Upstairs, a reliquary contains what's left of St-Victor, who was ground to death between millstones, probably by Romans. There's also a passage into tiny catacombs where early Christians worshipped St-Lazarus and Mary Magdalene, said to have washed ashore at Stes-Maries-de-la-Mer, in the Camargue.

This gargantuan, neo-Byzantine, 19th-century fantasy was built under Napoléon III—but not before he'd ordered the partial destruction of the lovely 11th-century original, once a perfect example of the Provençal Romanesque style. You can view the flashy interior (think marble and rich red porphyry inlay) of the newer of the two churches; the medieval one is being restored.

Toulon’s historic Romanesque cathedral was built in the 11th-century with successive additions in the 17th and 18th centuries done in the Provençal-baroque style. Among the notable artworks decorating the church’s dusky interior is a monumental marble altarpiece depicting God the Father surrounded by a throng of lifelike angels and two 17th-century paintings by Pierre Puget, a Marseille native whose sculptures once graced the palace of Versailles and are now housed in the Louvre. Francis I had the cathedral converted to a mosque in the winter of 1543–44 to accommodate the Muslim corsairs stationed in Toulon during the long Franco-Ottoman alliance to aid the king in his campaigns against Italy and Charles V.

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.

Fragments from a Gallo-Roman basilica were used to build this solemn, Romanesque cathedral, whose cloister is surrounded by richly sculpted columns and arches.

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.

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.

Many eras of architectural history are clearly delineated and preserved here. The cathedral has a double nave—Romanesque and Gothic side by side—and a Merovingian (5th-century) baptistery, its colonnade mostly recovered from Roman temples built to honor pagan deities. The deep bath on the floor is a remnant of the total-immersion baptisms that used to occur here, marking the forsaking of one's old life (going down into the water) for a new life in Christ (rising up from the water). Shutters hide the ornate 16th-century carvings on the portals, opened by a guide on request. The guide can also lead you into the tranquil Romanesque cloister next door, with carved pillars and slender columns.

The extraordinary 15th-century Triptyque du Buisson Ardent (Mary and the Burning Bush) was painted by Nicolas Froment in the heat of inspiration following his travels in Italy and Flanders, and depicts the generous art patrons King René and Queen Jeanne kneeling on either side of the Virgin, who is poised above a burning bush. To avoid light damage, it's rarely opened for viewing; check with the tourist office beforehand.

The cathedral was constructed primarily between 1409 and 1514, over three earlier churches, and was the seat of the bishops of Carpentras until 1801. Although it was built mainly in the Gothic style, its façade seems incongruous because of a 12th-century tower, a 17th-century classical doorway, and a 20th-century bell tower. Inside, exceptional wrought-iron gates, gilded statues, a 17th-century marble altar, and fine classical paintings hint at a rich past and the valuable relics housed here, which can be viewed on guided tours (check the tourist office for times).

L'Isle's 17th-century church is extravagantly decorated with gilt, faux marble, and sentimental frescoes. The double-colonnade facade commands the center of the vieille ville (Old Town). Visiting hours change frequently, so check with the tourist office.

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.

Though the facade now bears 19th-century touches, this small 17th-century church still contains the center panel of the fine 15th-century Annunciation Triptych, attributed to the father of Jan Van Eyck, the greatest painter of the Early Netherlandish school. Some say the massive painting on the left side of the transept is a Rubens. The church is used regularly for classical concerts.

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.

The interior of the village's Église St-Fermin is overblown Rococo—all pink and gold.

This 12th-century church served as a chapel of the Knights of Malta, a medieval order of friars devoted to hospital care. The church was Aix's first attempt at the Gothic style, and it was here that the counts of Provence were buried throughout the 18th century; their tombs (in the upper left) were attacked during the revolution and have been only partially repaired.

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).

Just east of Bandol on the D559, past the smaller resort of Sanary, as you turn left onto the D63 you'll see signs pointing to the small stone chapel of Notre-Dame de Pépiole. It's hemmed in by pines and cypresses and is one of the oldest Christian buildings in France, dating from the 6th century and modeled on early churches in the Middle East. The simple interior has survived the years in remarkably good shape, although the colorful stained glass that fills the tiny windows is modern—composed mainly of broken bottles.

Towering above the city and visible for miles around, this overscaled neo-Byzantine basilica was erected in 1853 by Napoléon III. The interior is a Technicolor bonanza of red-and-beige stripes and glittering mosaics, and the gargantuan Madonna and Child on the steeple (almost 30 feet high) is covered in real gold leaf. While the panoply of ex-votos, mostly thanking the Virgin for deathbed interventions and shipwreck survivals, is a remarkable sight, most impressive are the views of the seaside city at your feet.