780 Best Sights in France

In recent years, the 3e arrondissement, known at the "haut Marais," or upper Marais, has morphed into one of the city's hottest neighborhoods. Its charming old notions and hardware shops have been replaced by cool cafés, art galleries, and trendy boutiques. To enjoy this alluring quartier like a local, first head to Rue de Bretagne, the main drag. Stop for lunch at one of the food stalls in the Marché des Enfants Rouges (No. 39, open Tuesday through Sunday); it's the oldest covered market in Paris. Next, explore narrow side streets, like Rues Charlot, Debelleyme, and Poitou, lined with art galleries and small boutiques. Stop for a famous chausson aux pommes at Poilâne bakery ( 38 rue Debelleyme), or treat yourself to a homemade gelato at Pastelli Mary Gelateria ( 60 rue du Temple) before a visit to one of Paris's most original small museums, the Musée de la Chasse et de la Nature ( 62 rue des Archives).

The park attached to the City Hall (Mairie) of the 3e arrondissement is a fine place to picnic or relax and watch the world go by, complete with a children's playground, a charming duck pond, and lovely greenery. Across the street is the 19th-century cast-iron-and-glass Carreau du Temple, which is now a locally driven arts and sports community center. This is the site of the former Templar Tower, where Louis XIV and Marie-Antoinette were imprisoned before the king's date with the guillotine. (Napoléon later razed it.) For your evening apéritif, make a beeline for the buzzy Café Charlot ( 38 rue de Bretagne). If you're in the mood for a cocktail, try the Little Red Door speakeasy ( 60 rue Charlot).

Caen's finest church, of cathedral proportions, is part of the Abbaye aux Hommes, built by William the Conqueror from local Caen stone (which was also used for England's Canterbury Cathedral, Westminster Abbey, and the Tower of London). The abbey was begun in Romanesque style in 1066 and expanded in the 18th century; its elegant buildings are now part of City Hall, and some rooms are brightened by the city's fine collection of paintings. Note the magnificent yet spare facade of the abbey church of St-Étienne, enhanced by two 11th-century towers topped by octagonal spires. Inside, what had been William the Conqueror's tomb was destroyed by 16th-century Huguenots during the Wars of Religion. However, the choir still stands; it was the first to be built in Norman Gothic style, and many subsequent choirs were modeled after it. Guided tours in English are available weekdays in July and August. 

Founded in the 10th century, the Abbaye de Cluny was the largest church in Europe until the 16th century, when St. Peter's Basilica in Rome was built. Art historians have written themselves into knots tracing the fundamental influence of its architecture in the development of early Gothic style. Cluny's medieval abbots were as powerful as popes; in 1098 Pope Urban II (himself a Cluniac) assured the head of his old abbey that Cluny was the "light of the world." That assertion, of dubious religious validity, did not stand the test of time; after the Revolution the abbey was sold as national property and much of it was used as a stone quarry. Today Cluny stands in ruins, a reminder of the vanity of human grandeur. What remains, however, suggests the size and gorgeous glory of the abbey at its zenith, and piecing it back together in your mind is part of the attraction.

In order to get a clear sense of what you're looking at, start at the Porte d'Honneur, the entrance to the abbey from the village, whose classical architecture is reflected in the pilasters and Corinthian columns of the Clocher de l'Eau-Bénite (a majestic bell tower), crowning the only remaining part of the abbey church, the south transept. Between the two is the reconstructed monumental staircase, which led to the portal of the abbey church, and the excavated column bases of the vast narthex. The entire nave is gone. On one side of the transept is a national horse-breeding center (haras) founded in 1806 by Napoléon and constructed with materials from the destroyed abbey; on the other is an elegant pavilion built as new monks' lodgings in the 18th century. The gardens in front of it once contained an ancient lime tree (destroyed by a 1982 storm) named after Abélard, the controversial philosopher who sought shelter here in 1142. Off to the right is the 13th-century farinier (flour store), with its fine oak-and-chestnut roof and collection of exquisite Romanesque capitals from the vanished choir. The Musée d'Art et d'Archéologie, in the Palais Jean de Bourbon, contains Europe's foremost Romanesque lapidary museum. Vestiges of both the abbey and the village constructed around it are conserved here, as well as part of the Bibliothèque des Moines (Monks' Library).

The best-preserved of the Cistercian abbeys, the Abbaye de Fontenay was founded in 1118 by St-Bernard. The same Cistercian criteria applied to Fontenay as to Pontigny: no-frills architecture and an isolated site—the spot was especially remote, for it had been decreed that these monasteries could not be established anywhere near "cities, feudal manors, or villages." The monks were required to live a completely self-sufficient existence, with no contact whatsoever with the outside world. By the end of the 12th century the buildings were finished, and the abbey's community grew to some 300 monks. Under the protection of Pope Gregory IX and Hughes IV, duke of Burgundy, the monastery soon controlled huge land holdings, vineyards, and timberlands. It prospered until the 16th century, when religious wars and administrative mayhem hastened its decline. Dissolved during the French Revolution, the abbey was used as a paper factory until 1906. Fortunately, the historic buildings emerged unscathed. The abbey is surrounded by extensive, immaculately tended gardens dotted with the fountains that gave it its name. The church's solemn interior is lightened by windows in the facade and by a double row of three narrow windows, representing the Trinity, in the choir. A staircase in the south transept leads to the wooden-roof dormitory (spare a thought for the bleary-eyed monks, obliged to stagger down for services in the dead of night). The chapter house, flanked by a majestic arcade, and the scriptorium, where monks worked on their manuscripts, lead off from the adjoining cloisters.

A magnetic beacon to millions of travelers each year, this "wonder of the Western World"—a 264-foot mound of rock topped by a history-shrouded abbey—remains the crowning glory of medieval France. Wrought by nature and centuries of tireless human toil, the sea-surrounded mass of granite adorned with the soul-lifting silhouette of the Abbaye du Mont-St-Michel may well be your most lasting image of Normandy. The abbey is perched on a 264-foot-high rock a few hundred yards off the coast: it's surrounded by water during the year's highest tides and by desolate sand flats the rest of the time. Be warned: tides in the bay are dangerously unpredictable. The sea can rise up to 45 feet at high tide and rushes in at incredible speed—more than a few ill-prepared tourists over the years have drowned. Also, be warned that there are patches of dangerous quicksand.

Legend has it that the Archangel Michael appeared in 709 to Aubert, bishop of Avranches, inspiring him to build an oratory on what was then called Mont Tombe. The rock and its shrine were soon the objects of pilgrimages. The original church was completed in 1144, but additional buildings were added in the 13th century to accommodate monks as well as the hordes of pilgrims who flocked here even during the Hundred Years' War, when the region was in English hands. During the period when much of western France was subjected to English rule, the abbey remained a symbol, both physical and emotional, of French independence. Because of its legendary origins and the sheer exploit of its centuries-long construction, the abbey became known as the "Merveille de l'Occident" (Wonder of the Western World).

Year-round, free 75-minute-long guided tours in English and French (frequency depending on season) can take you through the impressive Romanesque and Gothic abbey and the spectacular Église Abbatiale, the abbey church, which crowns the rock, as well as the Merveille, a 13th-century, three-story collection of rooms and passageways. The tourism office also offers a list of local experts available for tours on its website. La Merveille was built by King Philippe Auguste around and on top of the monastery; on its second floor is the Mont's grandest chamber, the Salle des Chevaliers. Another longer tour, which also includes the celebrated Escalier de Dentelle (Lace Staircase), and the pre-Roman, exquisitely evocative Notre-Dame-sous-Terre has a higher ticket price and is only given in French. Invest in at least one tour while you are here—some of them get you on top of or into things you can't see alone. If you choose to proceed independently, stop halfway up Grande-Rue at the medieval parish church of St-Pierre to admire the richly carved side chapel with its dramatic statue of St-Michael slaying the dragon.

Give yourself at least half a day here, and follow your nose. The mount is full of nooks, crannies, little gardens, and echoing views from the ramparts. It's worth lingering to see the Mont spectacularly illuminated, nightly from dusk to midnight.

Founded in 1101, the Abbaye Royale de Fontevraud (Royal Abbey) had separate churches and living quarters for nuns, monks, lepers, "repentant" female sinners, and the sick. Between 1115 and the French Revolution in 1789, a succession of 39 abbesses—among them a granddaughter of William the Conqueror—directed operations. The great 12th-century Église Abbatiale (Abbey Church) contains the tombs of Henry II of England, his wife Eleanor of Aquitaine, and their son, Richard Cœur de Lion (the Lionheart). Although their bones were scattered during the Revolution, their effigies still lie en couchant in the middle of the echoey nave. Napoléon turned the abbey church into a prison, and so it remained until 1963, when historical restoration work began. The Salle Capitulaire (Chapter House), adjacent to the church, with its collection of 16th-century religious wall paintings (prominent abbesses served as models), is unmistakably Renaissance; the paving stones bear the salamander emblem of François I. Next to the long refectory is the famously octagonal Cuisine (Kitchen), topped by 20 scaly stone chimneys led by the Tour d'Evrault.

Visitors, tackling a steep, mile-long climb from the parking area, come to make a pilgrimage—aesthetic or spiritual—to this celebrated medieval abbey. It's one of the most photographed in Europe thanks to its sky-kissing location atop a triangular promontory at an altitude of nearly 3,600 feet. St-Martin du Canigou's breathtaking mountain setting was due, in part, to an effort to escape the threat of marauding Saracens from the Middle East. Constructed in 1009 by Count Guifré of Cerdagne, then damaged by an earthquake in 1428 and abandoned in 1783, the abbey was diligently (perhaps too diligently) restored by the Bishop of Perpignan early in the 20th century. The oldest parts are the cloisters and the two churches, of which the lower church, dedicated to Notre-Dame-sous-Terre, is the most ancient. Rising above is a stocky, fortified bell tower.

Masses are sung daily—Easter Mass is especially joyous and moving—but the Abbey can only be visited by guided tour (with French narration only), offered five times daily; reservations are not needed unless traveling as a group of 15 or more.

This 12,619-foot granite peak is topped with a needle-like observation tower, terrace, and restaurants. The world's highest cable car soars 12,000 feet up, almost to the top (an elevator completes the journey to the summit), providing positively staggering views of 15,700-foot Mont Blanc, Europe's loftiest peak. Be prepared for a lengthy wait, both going up and coming down—and wear warm clothing.

Inspired by Rome's Arch of Titus, this colossal, 164-foot triumphal arch was ordered by Napoléon—who liked to consider himself the heir to Roman emperors—to celebrate his military successes. Unfortunately, Napoléon's strategic and architectural visions were not entirely on the same plane, and the Arc de Triomphe proved something of an embarrassment. Although the emperor wanted the monument completed in time for an 1810 parade in honor of his new bride, Marie-Louise, it was still only a few feet high, and a dummy arch of painted canvas was strung up to save face. Empires come and go, but Napoléon's had been gone for more than 20 years before the Arc was finally finished in 1836. A small museum halfway up recounts its history.

The Arc de Triomphe is notable for magnificent sculptures by François Rude, including the Departure of the Volunteers in 1792, better known as La Marseillaise, to the right of the arch when viewed from the Champs-Élysées. Names of Napoléon's generals are inscribed on the stone facades—the underlined names identify the hallowed figures who fell in battle.

The traffic circle around the Arc is named for Charles de Gaulle, but it's known to Parisians as L'Étoile, or "the Star"—a reference to the streets that fan out from it. Climb the stairs to the top of the arch and you can see the star effect of the 12 radiating avenues and the vista down the Champs-Élysées toward Place de la Concorde and the distant Musée du Louvre.

Paris mayor Anne Hildago's ambitious plans to "green" the city include a total makeover for the Place d'Étoile to make visiting the Arc de Triomphe a safer and more pleasant experience. By 2024, traffic will be limited in favor of enlarged pedestrian areas and a wide expanse of trees extending all the way down the Champs-Élysées. France's Unknown Soldier is buried beneath the arch, and a commemorative flame is rekindled every evening at 6:30. That's the most atmospheric time to visit, but, to beat the crowds, come early in the morning or buy your ticket online.  Be wary of the traffic circle that surrounds the arch. It's infamous for accidents—including one several years ago that involved the French transport minister. Always use the underground passage from the northeast corner of Avenue des Champs-Élysées.

An abandoned iron foundry in the hip 11e arrondissement is the soaring backdrop for Culturespace's newest feast for the eyes and the senses, where visitors are invited to actually step into the midst of some of the great masterpieces of 19th- and 20th-century painting (many found in famous Parisian museums). More than 100 video projectors cast vivid scenes of gorgeously colored artwork on the walls, ceilings, and floors, accompanied by a dynamic soundtrack for total immersion into a 30-minute explosion of color and sound.

Encompassing a trio of upscale department stores (Printemps Mode, Printemps Beauté-Maison-Enfant, and Printemps Homme), this vast, venerable retailer has been luring shoppers since 1865 and has lately upped its glamour quotient with a series of elegant storewide restorations. Besides the clothes, shoes, housewares, and everything else, there are appealing dining options here. Two floors of the main building (Printemps Homme) have been completely renovated and are now home to Printemps du Goût, a celebration of French cuisine. If you are a do-it-yourselfer, you can find the best of French foodstuffs on the seventh floor. But if you want to eat in style while taking in spectacular views, either from inside via floor-to-ceiling windows or outside on the wraparound terrace, continue on to the eighth floor, where noted chefs and food artisans—including master cheese-maker Laurent Dubois, chef pâtissier Nina Métayer, and artisanal baker Gontran Cherrier—oversee a gourmet cornucopia. You can also opt for a leisurely shopping break at La Brasserie Printemps, under the famous stained-glass cupola, or the magnificent terrace of restaurant Perruche, with 360-degree views over Paris. Shoppers will be pleased to know that Paris's grand department stores are now open Sunday.

A fascinating relic of post–World War II Le Havre, the Auguste Perret Model Apartment is a testament to the city's postwar destruction—and to the determination of architects and city planners to create new homes for displaced residents. Sign up for a guided tour at the city's well-appointed Maison du Patrimoine; while the tour is in French, even nonspeakers will find plenty to admire in the collection of mid-century furniture and utility-minded ceramics and artwork. The apartment makes an interesting counterpoint to Perret's nearby masterpiece, the Église St-Joseph.

Built between 1136 and 1286, St-Denis Basilica is one of the most important Gothic churches in France. It was here, under dynamic prelate Abbé Suger, that Gothic architecture (typified by pointed arches and rib vaults) was said to have made its first appearance. The kings of France soon chose St-Denis as their final resting place, and their richly sculpted tombs—along with what remains of Suger's church—can be seen in the choir area at the east end. The basilica was battered during the Revolution; afterward, however, Louis XVIII reestablished it as the royal burial site by moving the remains of Louis XVI and Marie-Antoinette here to join centuries' worth of monarchial bones. The vast 13th-century nave is a brilliant example of structural logic; its columns, capitals, and vault are a model of architectural harmony. The facade, retaining the rounded arches of the Romanesque that preceded the Gothic period, is set off by a small rose window, reputedly the oldest in France. Check out the extensive archaeological finds, such as a Merovingian queen's grave goods. Occasional guided tours in English are offered (see website for exact times); if you'd rather explore on your own, audioguides are available for €3, as is a free English-language information leaflet.

It's hard not to feel as though you're ascending to heaven when you visit Sacred Heart Basilica, the white castle in the sky, perched atop Montmartre. The French government commissioned it in 1873 to symbolize the return of self-confidence after the devastating years of the Commune and Franco-Prussian War, and architect Paul Abadie employed elements from Romanesque and Byzantine styles when designing it—a mélange many critics dismissed as gaudy. Construction lasted until World War I, and the church was finally consecrated in 1919. Many people now come to Sacré-Coeur to admire the superlative view from the top of its 271-foot-high dome. But if you opt to skip the climb up the spiral staircase, the view from the front steps is still ample compensation for the trip.

Inside, expect another visual treat—namely the massive golden mosaic set high above the choir. Created in 1922 by Luc-Olivier Merson, Christ in Majesty depicts Christ with a golden heart and outstretched arms, surrounded by various figures, including the Virgin Mary and Joan of Arc. It remains one of the largest mosaics of its kind. In the basilica's 262-foot-high campanile hangs La Savoyarde, one of the world's heaviest bells, weighing about 19 tons.

The best time to visit Sacré-Coeur is early morning or early evening, and preferably not on a Sunday, when the crowds are thick. If you're coming to worship, there are daily Masses. To avoid the steps, take the funicular, which costs one métro ticket each way.

Toulouse's most famous landmark and the world's largest Romanesque church once belonged to a Benedictine abbey, built in the 11th century to house pilgrims on their way to Santiago de Compostela in Spain. Inside, the aesthetic high point is the magnificent central apse, begun in 1080, glittering with gilded ceiling frescoes, which date to the 19th century. When illuminated at night, St-Sernin's five-tier octagonal tower glows red against the sky. Not all the tiers are the same: the first three, with their rounded windows, are Romanesque; the upper two, with pointed Gothic windows, were added around 1300. The ancient crypt contains the relics and reliquaries of 128 saints, but its most famed treasure is a thorn that legend says is from the Crown of Thorns.

In the 11th and 12th centuries, the celebrated Basilique Ste-Madeleine was one of the focal points of Christendom. Pilgrims poured in to see the relics of St-Mary Magdalene (in the crypt) before setting off on the great trek to the shrine of St-James at Santiago de Compostela, in northwest Spain. Several pivotal church declarations of the Middle Ages were made from here, including St-Bernard's preaching of the Second Crusade (which attracted a huge French following) and Thomas à Becket's excommunication of English king Henry II. By the mid-13th century the authenticity of St-Mary's relics was in doubt; others had been discovered in Provence. The basilica's decline continued until the French Revolution, when the basilica and adjoining monastery buildings were sold by the state. Only the basilica, cloister, and dormitory escaped demolition, and were falling into ruin when ace restorer Viollet-le-Duc, sent by his mentor Prosper Merimée, rode to the rescue in 1840 (he also restored the cathedrals of Laon and Amiens and Paris's Notre-Dame). Guided tours are offered every Sunday from May to August at 2:30 pm.

Today the UNESCO-listed basilica has recaptured much of its glory and is considered to be one of France's most prestigious Romanesque showcases. The exterior tympanum was redone by Viollet-le-Duc (have a look at the eroded original as you exit the cloister), but the narthex (circa 1150) is a Romanesque masterpiece. Note the interwoven zodiac signs and depictions of seasonal crafts along its rim, similar to those at both Troyes and Autun. The pilgrims' route around the building is indicated by the majestic flowers, which metamorphose into full-blown blooms, over the left-hand entrance on the right; an annual procession is still held on July 22. The basilica's exterior is best seen from the leafy terrace to the right of the facade. Opposite, a vast, verdant panorama encompasses vines, lush valleys, and rolling hills. In the foreground is the Flamboyant Gothic spire of St-Père-sous-Vézelay, a tiny village 3 km (2 miles) away.

Built during World War II as a German U-boat base, this eerie series of underground, water-filled artificial caverns has been re-created as an astounding, echoing event and exhibition space for conceptual art. More than 100 computer-controlled projectors splash huge images inspired by the work of artists as diverse as Gustav Klimt, Ego Schiele, Salvador Dalí, and Antoni Gaudí onto the interior surfaces of the four chambers, reflected in the deep, still water that half fills them. The music of contemporary and classical composers accompanies the ever-shifting images, creating an immersive, overwhelming sensory experience. Dress warmly; it can get chilly in there.

Essentially a 225-foot-long embroidered scroll stitched in 1067, the Bayeux Tapestry, known in French as the Tapisserie de la Reine Mathilde (Queen Matilda's Tapestry), depicts, in 58 comic strip–type scenes, the epic story of William of Normandy's conquest of England, narrating Will's trials and victory over his cousin Harold, culminating in the Battle of Hastings on October 14, 1066. The tapestry was probably commissioned from Saxon embroiderers by the count of Kent—who was also the bishop of Bayeux—to be displayed in his newly built Cathédrale Notre-Dame. The extremely detailed, often homey scenes provide an unequaled record of the clothes, weapons, ships, and lifestyles of the day. It's showcased in the Musée de la Tapisserie (Tapestry Museum); free audio guides let you listen to an English commentary about the tapestry.

Lyon has spent the last 15 years spiffing up 5 km (3 miles) of its Berges du Rhône waterfront via pedestrian-only walking paths and cycling routes that take you past water gardens, meadows, sunning decks, petanque pitches, and a slew of lively bars and cafés all enjoying fabulous views and cool breezes over the Rhône. Open year-round, this is a big summer hot spot for the Lyonnais, who flock here after work to jog, picnic, and simply bask in the warm weather. For a map of the Berges areas, stop in at the tourist office at Place Bellecoeur or have a look online.

When Parisians want to experience the great outdoors without going too far from home, they head to the Bois de Boulogne. Once a royal hunting ground, the Bois is like a vast tamed forest where romantic lakes and wooded paths are complemented by formal gardens and family-friendly amusements. On nice days, it’s filled with cyclists, rowers, rollerbladers, and joggers. Art lovers also flock here thanks to the Fondation Louis Vuitton, a stunning exhibition space dedicated to contemporary art.

The Parc de Bagatelle is a floral garden with irises, roses, tulips, water lilies, and roaming peacocks, while the Pré Catelan contains one of Paris's largest trees: a copper beech more than 200 years old. Romantic Le Pré Catelan restaurant (three Michelin stars), a Belle Époque classic with an elegant terrace, still draws diners and wedding parties. The Jardin Shakespeare inside the Pré Catelan has a sampling of the flowers, herbs, and trees mentioned in Shakespeare's plays, and it becomes an open-air theater for the Bard's works in spring and summer. The Jardin d'Acclimatation is an amusement park that attracts hordes of preschoolers on summer Sundays. Boats or bikes can be rented for a few euros at Lac Inférieur. You can row or take a quick "ferry" to the island restaurant, Le Chalet des Îles. Two popular horse-racing tracks are also in the park: the Hippodrome de Longchamp and the Hippodrome d'Auteuil. Fans of the French Open can visit its home base, Stade Roland-Garros.

The main entrance to the Bois is off Avenue Foch near the Porte Dauphine métro stop on Line 2; it is best for accessing the Pré Catelan and Jardin Shakespeare, both off Route de la Grande-Cascade by the lake. For the Jardin d'Acclimatation and the Fondation Louis Vuitton, off Boulevard des Sablons, take Line 1 to Les Sablons or Porte Maillot, where you can walk or ride the Petit Train to the amusement park, which is next door to the foundation. The foundation also offers a €2 return-trip shuttle from Place de l'Étoile. The Parc de Bagatelle, off Route de Sèvres-à-Neuilly, can be accessed from either Porte Dauphine or Porte Maillot, though it's a bit of a hike. You'll want to leave the park by dusk, as the Bois—potentially dangerous after dark—turns into a distinctly “adult” playground.

Like the Bois de Boulogne to the west, this much-loved retreat on the city's eastern border was landscaped by Napoléon III. Its roots, however, reach back to the 13th century, when Philippe Auguste created a hunting preserve in the shadow of the royal Château de Vincennes, which once ranked as the largest château in Europe. In 1731 Louis XV created a public park here, and the bois (or woods) now features a Japanese garden, La Grande Pagode (a Buddhist temple containing the largest golden statue of the Buddha in Europe), and the exquisite Parc Floral, with acres of flower gardens, a huge kids' park, and summertime jazz and classical concerts. Horse races at the restored Vincennes Hippodrome de Paris are an event for the whole family, but perhaps not the Espace Naturiste, Paris's first area for nudists, opened in 2017. Rowboats are for hire at a pair of lakes: Lac Daumesnil, which has two islands, and Lac des Minimes, which has three. For the kids, there are pony rides, a miniature train, and numerous play areas. Here, too, you'll find the stunning Palais de la Porte Dorée, home to an immigration museum and tropical aquarium. Through late summer, the Parc Floral hosts two beloved music festivals, the Paris Jazz Festival and the Festival Classique au Vert. Grab a picnic and a blanket and enjoy classical music or jazz in the amphitheater or on the lawn in Paris's prettiest park.

Capping one of the art world's great rivalries, the Collection Pinault Paris opened in 2021, adding another gem to the city's cultural roster. After years of false starts, tycoon François Pinault is now showcasing his billion-dollar trove of contemporary works by bold-faced names such as Mark Rothko and Damien Hirst under the historic iron-and-glass dome of the 19th-century Commerce Exchange, one of the city's most stunning, if underused, buildings. After losing a previous bid to open a museum outside Paris—taking his works to Venice instead—Gucci owner Pinault could only watch as archrival Bernard Arnault opened his Frank Gehry–designed Fondation Louis Vuitton in 2014. Not one to be outdone, Pinault tapped star Japanese architect Tadao Ando to carry out a nearly $140 million redesign of the edifice—Paris' former grain exchange—in 2017. Inside, four levels of exhibition space spiral skyward along a giant concrete cylinder ringed at the top by a walkway offering a bird's-eye view of the galleries below. The sparsity of the collections only contributes to the spaceship-like appeal of the contemporary renovation, with a handful of 19th-century details remaining: double-helix stone staircases, wooden display cases dating to 1889, the engine room on the lower level, and the realist mural adorning the underside of the dome, displaying seasonal panoramas of French traders engaged in commerce with the rest of the world. Paris Mayor Anne Hidalgo, who supplied a 50-year lease, called Pinault's creation an "immense gift" to the city. Free 20-minute tours depart daily from the ground-floor level; on the hour, tours explore the collection, while on the half-hour, they delve into the history and architecture of the building. A children's area allows kids to engage with a tour guide, discovering the collection by way of games and books, while the Halle aux Graines restaurant from Michelin-starred father-and-son team Michel and Sébastien Bras allows you to discover a tasting menu in three, five, or seven courses or an à la carte selection of upscale, contemporary French specialties. Don't miss the 100-foot-tall Medici Column on the back side of the building. It was once the stargazing perch of Marie de Medici's powerful astrologer, Cosimo Ruggieri. Legend has it that on stormy nights, a silhouetted figure can be seen in the metal cage at the top.

One dramatic sight is 12 km (7 miles) west of the village of Gavarnie. Take D923 up to the Col des Tentes, where you can park and walk five hours up to the Brèche de Roland Glacier (you cross it during the last two hours of the hike). For a taste of mountain life, have lunch high up at the Club Alpin Français's Refuge la Brèche de Roland–Sarradets. This is a serious climb, only feasible from mid-June to mid-September, for which you need (at least) good hiking shoes and sound physical conditioning. Crampons and ice axes can be rented in Gavarnie.

This once-forgotten canal has morphed into one of the city's trendiest places to wander. A good time to come is Sunday afternoon, when the Quai de Valmy is closed to cars and some of the shops are open. Rent a bike at any of the many Vélib' stations, stroll along the banks, or go native and cuddle quai-side in the sunshine with someone special.

In 1802 Napoléon ordered the 4.3-km (2.7-mile) canal dug as a source of clean drinking water after cholera and other epidemics swept the city. When it finally opened 23 years later, it extended north from the Seine at Place de la Bastille to the Canal de l'Ourcq, near La Villette. Baron Haussmann later covered a 1.6-km (1-mile) stretch of it, along today's Boulevard Richard Lenoir. It nearly became a highway in the 1970s, before the city's urban planners regained their senses. These days you can take a boat tour from end to end through the canal's nine locks: along the way, the bridges swing or lift open. The drawbridge with four giant pulleys at Rue de Crimée, near La Villette, was a technological marvel when it debuted in 1885. In recent years gentrification has transformed the once-dodgy canal, with artists taking over former industrial spaces and creating studios and galleries. The bar and restaurant scene is hipster central, and small designers have arrived, fleeing expensive rents in the Marais. To explore this evolving quartier, set out on foot. Start on the Quai de Valmy at Rue Faubourg du Temple (use the République métro stop). Here, at Square Frédéric Lemaître facing north, there is a good view of one of the locks (behind you the canal disappears underground). As you head north, detour onto side streets like Rue Beaurepaire, a fashionista destination with several "stock" (or surplus) shops for popular brands, some open on Sunday. Rues Lancry and Vinaigriers are lined with bars, restaurants, and small shops.

A swing bridge across the canal connects Lancry to the Rue de la Grange aux Belles, where you'll find the entrance to the massive Hôpital Saint-Louis, built in 1607 to accommodate plague victims and still a working hospital today. In front of you is the entrance to the chapel, which held its first Mass in July 1610, two months after the assassination of the hospital's patron, Henry IV. Stroll the grounds, flanked by the original brick-and-stone buildings with steeply sloping roofs. The peaceful courtyard garden is a neighborhood secret.

Back on Quai Valmy, browse more shops near the Rue des Récollets. Nearby is the Jardin Villemin, the 10e arrondissement's largest park (4½ acres) on the former site of another hospital. The nighttime scene, especially in summer, is hopping with twentysomethings spilling out of cafés and bars and onto the canal banks. If you've made it this far, reward yourself with a fresh taco or burrito at the tiny and authentically Mexican El Nopal taqueria ( 3 rue Eugène Varlin). Farther up, just past Place Stalingrad, is the La Rotonde Ledoux (commonly called Rotonde de la Villette), a lively square with restaurants and twin MK2 cinemas on either side of the canal, plus a boat to ferry ticket holders across. Canauxrama ( www.canauxrama.com) offers 2½-hour boat cruises through the locks (€20). Embarkation is at each end of the canal: at Bassin de la Villette or Port de l'Arsenal.

The 18th-century Capitole is home to the Hôtel de Ville and the city's highly regarded opera company. Halfway up the Grand Escalier (Grand Staircase) hangs a large painting of the Jeux Floraux, the "floral games" organized by a literary society created in 1324 to promote the local Occitanian language, Langue d'Oc. The festival continues to this day: poets give public readings here each May, and the best are awarded silver- and gold-plated violets, one of the emblems of Toulouse. At the top of the stairs is the Salle Gervaise, a hall adorned with a series of paintings inspired by the themes of love and marriage. The mural at the far end of the room portrays the Isle of Cythères, where Venus received her lovers, alluding to a French euphemism for getting married: embarquer pour Cythères (to embark for Cythères). More giant paintings in the Salle Henri-Martin, named for the artist (1860–1943), show the passing seasons set against the eternal Garonne. Look for Jean Jaurès (1859–1914), one of France's greatest socialist martyrs, in Les Rêveurs (The Dreamers); he's wearing a boater-style hat and a beige coat. At the far left end of the elegant Salle des Illustres (Hall of the Illustrious) is a large painting of a fortress under siege, portraying the women of Toulouse slaying Simon de Montfort, leader of the Albigensian crusade against the Cathars, during the siege of Toulouse in 1218.

Unlike most of the area's Champagne tours, at Castellane you get a chance to see the bottling, corking, and labeling plant. During the 45-minute guided tour of the underground chalk cellars, every step of the Champagne-making process is carefully explained. The visit culminates with a glass of Castellane Brut. Above the cellars, there's a museum with an intriguing display of old tools, bottles, labels, and posters. A climb to the top of the iconic 200-foot tower rewards you with a great view over Épernay and the surrounding Marne vineyards.

Worship on the site of the Cathédrale Notre-Dame, better known as Chartres Cathedral, goes back to before the Gallo-Roman period—the crypt contains a well that was the focus of druid ceremonies. In the late 9th century Charles II (aka "the Bald") presented Chartres with what was believed to be the tunic of the Virgin Mary, a precious relic that went on to attract hordes of pilgrims. The current cathedral, the sixth church on the spot, dates mainly to the 12th and 13th centuries and was erected after most of the previous building, dating to the 11th century, burned down in 1194. A well-chronicled outburst of religious fervor followed the discovery that the Virgin Mary's relic had miraculously survived unsinged. Motivated by this “miracle,” princes and paupers, barons and bourgeoisie gave their money and their labor to build the new cathedral. Ladies of the manor came to help monks and peasants on the scaffolding in a tremendous resurgence of religious faith that followed the Second Crusade. Just 25 years were needed for Chartres Cathedral to rise again, and although it remained substantially unchanged for centuries, a 12-year, €20 million renovation that was completed in 2018 restored the cathedral's famously gloomy interiors to their "original" creamy white, sparking a major controversy among those who embraced the dark interiors. As spiritual as Chartres is, the cathedral also had its more earthbound uses. Look closely and you can see that the main nave floor has a subtle slant. It was designed to provide drainage because this part of the church was often used as a "hostel" by thousands of overnighting pilgrims in medieval times. Those who couldn't afford the entire pilgrimage could walk the cathedral's labyrinth, one of the most beautiful and famous in the world; today it's open for visitors every Friday and for a month during Lent (on other days it is covered with chairs).

Though the windows no longer pop from the previously dark interiors, the gemlike richness of the cleaned and restored stained glass, with the famous deep Chartres blue predominating, is still a thrilling experience. The restoration also uncovered some surprising illustrations of rose windows painted high up in the north and south narthex, just inside the cathedral entrance. The Royal Portal is richly sculpted with scenes from the life of Christ—these sculpted figures are among the greatest created during the Middle Ages. The rose window above the main portal dates from the 13th century, and the three windows below it contain some of the finest examples of 12th-century stained-glass artistry in France. The oldest window is arguably the most beautiful: Notre-Dame de la Belle Verrière (Our Lady of the Lovely Window), in the south choir.

A special tour of the cathedral crypt by candlelight is given every Saturday at 9:30 pm (in French; book on the Chartres Tourism site). For a bird's-eye view, book a tour of the towers. Guided tours of the Crypte start from the Maison de la Crypte opposite the south porch; tickets can be purchased at the gift store.

Constructed between 1150 and 1230, the Cathédrale Notre-Dame is a superb example of early Gothic architecture. The light interior gives the impression of order and immense length, and the first flourishing of Gothic design is reflected in the harmony of the four-tier nave: from the bottom up, observe the wide arcades, the double windows of the tribune, the squat windows of the triforium, and, finally, the upper windows of the clerestory. Medieval stained glass includes the rose window dedicated to the liberal arts in the left transept, and the windows in the flat east end, an unusual feature for France although common in England. The majestic towers can be explored during guided visits; these depart from the tourist office, which occupies a 12th-century hospital on the cathedral square. Audio guides can be rented for €5, although they don't include the towers.

By far the largest church in France, the Cathédrale Notre-Dame d'Amiens could enclose Paris's Notre-Dame twice. It may lack the stained glass of Chartres or the sculpture of Reims, but for architectural harmony, engineering proficiency, and sheer size, it's incomparable. The soaring, asymmetrical facade has a notable Flamboyant Gothic rose window and is brought to life on summer evenings when a sophisticated 45-minute light show re-creates its original color scheme. Inside, there's no stylistic disunity to mar the perspective, creating an overwhelming sensation of pure space. Construction took place between 1220 and 1264, a remarkably short period in cathedral-building terms. One of the highlights of a visit here is hidden from the eye, at least until you lift up some of the 110 choir-stall seats and admire the humorous, skillful misericord seat carvings executed between 1508 and 1518 (access with guide only). Audio guides can be rented from the tourist office.

Recently restored for its 800th birthday, this magnificent Gothic cathedral provided the setting for the coronations of French kings. The great historical saga began with Clovis, king of the Franks, who was baptized in an early structure on this site at the end of the 5th century; Joan of Arc led her recalcitrant Dauphin here to be crowned King Charles VII; Charles X's coronation, in 1825, was the last. The east-end windows have stained glass by Marc Chagall and Imi Knoebel. Admire the vista toward the west end, with an interplay of narrow pointed arches. The glory of Reims's cathedral is its facade: it's so skillfully proportioned that initially you have little idea of its monumental size. Above the north (left) door hovers the Laughing Angel, a delightful statue whose famous smile threatens to melt into an acid-rain scowl now that pollution has succeeded war as the ravager of the building's fabric. With the exception of the 15th-century towers, most of the original building went up in the 100 years after 1211. You can climb to the top of the towers and peek inside the breathtaking timber-and-concrete roof (reconstructed in the 1920s with Rockefeller money) for €8. A stroll around the outside reinforces the impression of harmony, discipline, and decorative richness. The east end presents an idyllic sight across well-tended lawns.