1176 Best Sights in France

Inaugurated in 1913, the Carlton was the first of the grand hotels to stake a claim on a superb stretch of beach and greenery along La Croisette, and, thus, is the best positioned, which explains its fashionable see-and-be-seen terrace and Bar 58. The film festival's grand banquets have returned to this iconic hot spot, which reopened in 2023 after a multiyear restoration.

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.

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.

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.

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.

After a 23-year closure and seven years of restoration work, the 14th-century Chapelle St-Piat, in the ambulatory's southeast corner, has finally reopened to visitors. True to its original purpose as a place to house priceless relics, the two-floor chapel now exhibits the cathedral's treasures, including sculptures retrieved from the exterior, a 14th-century rood screen, and other ornate liturgical objects. The soaring edifice is notable for its beautiful stained glass windows and recently discovered murals that are the earliest representations of Chartres Cathedral and its medieval traditions. Four splendid contemporary bay windows, designed by the Korean artist Hai Ja, complete the treasures of this gemlike structure. Visitors have access to both floors and gallery spaces in its two turrets.

Though the crypt is off-limits for everyone but religious pilgrims, you can take a 45-minute guided tour of the cathedral rooftops (€7) up a steep flight of rather worn and slippery stairs, booked directly with the cathedral. Vistas of the town from on high are magnificent, as are the up-close-and-personal views of the ancient gargoyles and buttresses.

Dark pink, ornately carved Vosges sandstone covers the facade of this most novel and Germanic of French cathedrals, a triumph of Gothic art begun in 1176. Not content with the outlines of the walls themselves, medieval builders lacily encased them with slender stone shafts. The off-center spire, finished in 1439, looks absurdly fragile as it tapers skyward some 466 feet. You can climb 330 steps to the base of the spire for sweeping views of the city, the Vosges Mountains, and the Black Forest.

The interior presents a stark contrast to the facade: it's older (mostly finished by 1275), and the nave's broad windows emphasize the horizontal rather than the vertical. Note Hans Hammer's ornately sculpted pulpit (1485) and the richly painted 14th- to 15th-century organ loft that rises from pillar to ceiling. The left side of the nave is flanked with richly colored Gothic windows honoring the early leaders of the Holy Roman Empire—Otto I and II and Heinrich I and II. The choir is not ablaze with stained glass but framed by chunky Romanesque masonry. Head to the right transept to admire the Pilier des Anges (Angels' Pillar), an intricate Gothic column dating from around 1230.

Just behind the pillar, the Renaissance machinery of the imposing 16th-century Horloge Astronomique whirs into action daily at 12:30 pm (but the line starts at the south door at 11:45 am) with macabre clockwork figures enacting the story of Christ's Passion. One of the highlights: when the apostles walk past, a likeness of Christ as a rooster crows three times.

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. Guided tours can also be arranged by the tourist office; times vary so check the website.

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 €9. 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.

Historically linked more with Paris than Burgundy, Sens was the country’s ecclesiastical center for centuries. Today it's still dominated by Cathédrale St-Étienne, once the French sanctuary for Thomas à Becket and a model for England's Canterbury Cathedral. You can see the 240-foot south tower from miles away. As you draw near, the pompous 19th-century buildings lining the town's narrow main street—notably the meringue-like Hôtel de Ville—can give you a false impression; in fact, the streets leading off it near the cathedral (notably Rue Abelard and Rue Jean-Cousin) are full of medieval half-timber houses. On Monday the cathedral square is crowded with merchants' stalls, and the beautiful late-19th-century market hall—a distant cousin of Baltard's former iron-and-glass Halles in Paris—hums with people buying meat and produce. A smaller market is held on Friday morning.

Begun around 1130, the cathedral once had two towers: one was topped in 1532 by an elegant though somewhat incongruous Renaissance campanile that contained two monster bells; the other was taken down in the 19th century. Note the trefoil arches decorating the exterior of the remaining tower. The gallery, with statues of former archbishops of Sens, is a 19th-century addition, but the statue of St. Stephen (aka St-Étienne) between the doors of the central portal, is thought to date to late in the 12th century. The vast, harmonious interior is justly renowned for its stained-glass windows: the oldest (circa 1200) are in the north transept and include the stories of the Good Samaritan and the Prodigal Son; those in the south transept were manufactured in 1500 in Troyes and include a much-admired Tree of Jesse. Stained glass windows in the north of the chancel retrace the story of Thomas à Becket: Becket fled to Sens from England to escape the wrath of Henry II before returning to his cathedral in Canterbury, where he was murdered in 1170. Below the window—which shows him embarking on his journey in a boat, and also at the moment of his death—is a medieval statue of an archbishop said to have come from the site of Becket's home in Sens. Becket's aube (vestment) is displayed in the annex to the Palais Synodal.

Dominating the 18th-century Place d’Armes, this Gothic masterpiece rises almost 300 feet above the city, its grandeur amplified by soaring flying buttresses, menacing gargoyles, and elaborate stone carvings on its two portals. The slightly grimy interior only serves to accentuate the beauty of its 70,000 square feet of stained glass windows, dappling colored light inside the nave and earning the cathedral the moniker of “God’s Lantern.” In the ambulatory, Chagall’s 1960 stained glass depicts Old Testament scenes in a flurry of blues and reds, while an illuminating yellow dominates his north transept take on the Garden of Eden.

Soaring above the town center is the tallest cathedral in France: the Cathédrale St-Pierre. You may have an attack of vertigo just gazing up at its vaults, 153 feet above the ground. Despite its grandeur, the cathedral has a shaky past. The choir collapsed in 1284, shortly after completion, and was rebuilt with extra pillars. This engineering fiasco, paid for by the riches of Beauvais's wool industry, proved so costly that the transept was not attempted until the 16th century. It was worth the wait: an outstanding example of Flamboyant Gothic, with ornate rose windows flanked by pinnacles and turrets. However, a megalomaniacal 450-foot spire erected at the same time came crashing down after just four years, and Beauvais's dream of having the largest church in Christendom vanished forever. Now the cathedral is starting to lean, and cracks have appeared in the choir vaults because of shifting water levels in the soil. No such problems bedevil the Basse Oeuvre (lower edifice; closed to the public), which juts out impertinently where the nave should have been; it has been there for 1,000 years. Fittingly donated to the cathedral by the canon Étienne Musique, the oldest surviving chiming clock in the world—a 1302 model with a 15th-century painted wooden face and most of its original clockwork—is built into the wall of the cathedral. Perhaps Auguste Vérité drew his inspiration from this humbler timepiece when, in 1868, he made a gift to his hometown of the gilded, templelike astrological clock (€5; displays at 10:30, 11:30, 2:30, 3:30, and 4:30 with additional displays at 12:30 and 1:30 from April to September), which features animated religious figurines representing the Last Judgment.

One of the most unusual and dazzling churches in France, the huge Cathédrale Ste-Cécile (also known as Cathedrale d'Albi), with its intimidating clifflike walls, resembles a cross between a castle and an ocean liner. It was constructed as a symbol of the Church's return to power after the 13th-century crusade that wiped out the Cathars. The interior is an astonishingly ornate contrast to the massive austerity of the outer walls. Maestro Donnelli and a team of 16th-century Italian artists (most of the Emilian school) covered every possible surface with religious scenes and brightly colored patterns—it remains the largest group of Italian Renaissance paintings in any French church. On the west wall you can find one of the most splendid organs in the world, built in 1734 and outfitted with 3,500 pipes, which loom over a celebrated fresco of the Last Judgment.

Part of the Culturespaces network of museums and monuments and one of Aix's top cultural attractions, this art center is housed in the Hôtel de Caumont, a spectacular 18th-century mansion. It hosts two world-class art exhibitions per year in beautifully conceived spaces, and there are daily screenings of the film Cézanne in the Aix Region. The elegant gardens have been painstakingly restored to their original layout, and you can enjoy a drink, light lunch, or dessert in the garden restaurant. The indoor Café Caumont is easily Aix's most elegant. The center also hosts a series of jazz and classical music performances.

This cooperative of Rhône winemakers is a pioneer in sustainable wine making and boasts some of the region's most prestigious vintages. The cave (wine cellar) offers a wide range of tastings in a friendly atmosphere, plus outdoor wine and food experiences, including cycling through the vineyards. The boutique also carries a mind-boggling selection of Rhône appellations. Friendly wine experts are on hand to guide you to the best vintages to taste and buy.

Opened in 2010, this offshoot of the famed Parisian museum is one of the city’s biggest pulls. It features similarly bold architecture: its roof is composed of a shell-like white fiberglass membrane held in place by an intricate network of wooden lattices. Light passes through the roof and through the huge picture windows in the galleries, bathing the interior in an ambience of airy luminosity. The eclectic temporary exhibitions are themed or monographic, showcasing the work of modern and contemporary artists.

Built from Sebastiano Serlio's designs, with interior blandishments by Primaticcio, the Château d'Ancy-le-Franc is an important example of Italianism, less for its plain, heavy exterior than for its sumptuous rooms and apartments, many with carved or painted walls and ceilings plus original furnishings. Niccolò dell'Abate and other court artists created the magnificent Chambre des Arts (Art Gallery) and other rooms filled with murals depicting the signs of the zodiac, the Battle of Pharsala, and the motif of Diana in Her Bath (much favored by Diane de Poitiers, sister of the Comtesse de Tonnerre). Such grandeur won the approval of no less than the Sun King, Louis XIV, who once stayed in the Salon Bleu (Blue Room). The east wing of the ground floor, which housed Diane de Poitier's apartments, has been restored. Highlights here include Diane's bedroom with its 16th-century murals.

The most beautiful castle in France is first glimpsed as you approach the Château d'Ussé, and an astonishing array of blue-slate roofs, dormer windows, delicate towers, and Gothic turrets greets you against the flank of the Forest of Chinon. Literature describes this château, overlooking the banks of the River Indre, as the original \"Sleeping Beauty\" castle; Charles Perrault, author of this beloved 17th-century tale, spent time here as a guest of the Count of Saumur, and legend has it that Ussé inspired him to write the famous story. Although parts of the castle are from the 1400s, most of it was completed two centuries later. By the 17th century, the region was so secure that one fortified wing of the castle was demolished to allow for grand vistas over the valley and the castle gardens, newly designed in the style Le Nôtre had made so fashionable at Versailles.

Only Disney could have outdone this white tufa marvel: the château is a flamboyant mix of Gothic and Renaissance styles—romantic and built for fun, not for fighting. Its history supports this playful image: it endured no bloodbaths—no political conquests or conflicts—while a tablet in the chapel indicates that even the French Revolution passed it by. Inside, a tour leads you through several sumptuous period salons, a 19th-century French fashion exhibit, and the Salle de Roi bedchamber built for a visit by King Louis XV (the red-silk, canopied four-poster bed is the stuff of dreams). At the end of the house tour, you can go up the fun spiral staircases to the chemin de ronde of the lofty towers; there are pleasant views of the Indre River from the battlements, and you can also find rooms filled with waxwork effigies detailing the fable of Sleeping Beauty herself. (Kids will love this.)

Before you leave, visit the exquisite Gothic-becomes-Renaissance chapel in the garden, built for Charles d'Espinay and his wife in 1523–35. Note the door decorated with pleasingly sinister skull-and-crossbones carvings. Just a few steps from the chapel are two towering cedars of Lebanon—a gift from the genius-poet of Romanticism, Viscount René de Chateaubriand, to the lady of the house, the duchess of Duras. When her famous amour died in 1848, she stopped all the clocks in the house (à la \"Sleeping Beauty\") so as \"never to hear struck the hours you will not come again.\" The castle then was inherited by her relations, the comte and comtesse de la Rochejaquelin, one of the most dashing couples of the 19th century. Today, Ussé belongs to their descendant, the duc de Blacas, who is as soigné as his castle. If you do meet him, proffer thanks, as every night his family floodlights the entire château, a vision that is one of the Loire Valley's dreamiest sights. Long regarded as a symbol of la vieille France, Ussé can't be topped for fairy-tale splendor, so make this a must-do.

Stop in Biron to see its massive hilltop castle, the highlights of which include a keep, square tower, and chapel, dating from the Renaissance, and monumental staircases. In addition to the period apartments and the kitchen, with its huge stone-slab floor, there's a gigantic dungeon, complete with a collection of scarifying torture instruments. The classical buildings were completed in 1760. The Gontaut-Biron family—whose ancestors invented great typefaces centuries ago—has lived here for 14 generations. The château has been undergoing renovations on a room-by-room basis since 2013, but these interfere only minimally with the viewing. It's well worth renting an audio guide (€3) to get a detailed history, plus specifics about the architecture and decor.

When King Edward VIII of England abdicated his throne in 1937 to marry the American divorcée Wallace Simpson, the couple chose to escape the international limelight and exchange their wedding vows at this elegant 16th-century château. Although it’s decorated with period furnishings and features Art Deco bathrooms, all eyes are drawn to the mementos from the duke and duchess of Windsor's stay (including the famous Cecil Beaton photographs taken on their big day). Fashionistas will also appreciate the haute-couture wardrobe compiled by the stylish lady of the house, Fern Bedaux. Befitting the owners' flawless taste (if questionable politics, as the Bedauxs were known fascist sympathizers), the château is a particularly pretty example of the late-Gothic style.

As you travel the gigantic, tree-shaded roadways that converge on Chambord, you first spot the château's incredible towers—19th-century novelist Henry James said they were \"more like the spires of a city than the salient points of a single building\"—rising above the forest. When the entire palace breaks into view, it is an unforgettable sight.

With a 420-foot-long facade, 440 rooms, 365 chimneys, and a wall that extends 32 km (20 miles) to enclose a 13,000-acre forest, the Château de Chambord is one of the greatest buildings in France. Under François I, building began in 1519, a job that took 12 years and required 1,800 workers. His original grandiose idea was to divert the Loire to form a moat, but someone (perhaps his adviser, Leonardo da Vinci, who some feel may have provided the inspiration behind the entire complex) persuaded him to make do with the River Cosson. François I used the château only for short stays; yet 12,000 horses were required to transport his luggage, servants, and entourage when he came. Later kings also used Chambord as an occasional retreat, and Louis XIV, the Sun King, had Molière perform here. In the 18th century Louis XV gave the château to the Maréchal de Saxe as a reward for his victory over the English and Dutch at Fontenoy (southern Belgium) in 1745. When not indulging in wine, women, and song, the marshal planted himself on the roof to oversee the exercises of his personal regiment of 1,000 cavalry. Now, after long neglect—all the original furnishings vanished during the French Revolution—Chambord belongs to the state.

There's plenty to see inside. You can wander freely through the vast rooms, filled with exhibits (including a hunting museum)—not all concerned with Chambord, but interesting nonetheless—and lots of Ancien Régime furnishings. The enormous double-helix staircase (probably envisioned by Leonardo, who had a thing about spirals) looks like a single staircase, but an entire regiment could march up one spiral while a second came down the other, and never the twain would meet. The real high point here in more ways than one is the spectacular chimneyscape—the roof terrace whose forest of Italianate towers, turrets, cupolas, gables, and chimneys has been compared to everything from the minarets of Constantinople to a bizarre chessboard. During the year there's a packed calendar of activities on tap, including 90-minute tours of the park in a 4x4 vehicle (€20). A soaring three-story-tall hall has been fitted out to offer lunches and dinners.

Although its lavish exterior may be 19th-century Renaissance pastiche, the Château de Chantilly, sitting snugly behind an artificial lake, houses the outstanding Musée Condé, with illuminated medieval manuscripts, tapestries, furniture, and paintings. The most famous room, the Santuario (sanctuary), contains two celebrated works by Italian painter Raphael (1483–1520)—the Three Graces and the Orleans Virgin—plus an exquisite ensemble of 15th-century miniatures by the most illustrious French painter of his time, Jean Fouquet (1420–81). Farther on, in the Cabinet des Livres (library), is the world-famous Book of Hours, whose title translates as The Very Rich Hours of the Duc de Berry. It was illuminated by the Brothers Limbourg with magical pictures of early-15th-century life as lived by one of Burgundy's richest lords; unfortunately, due to their fragility, painted facsimiles of the celebrated calendar illuminations are on display, not the actual pages of the book. Other highlights of this unusual museum are the Galerie de Psyché (Psyche Gallery), with 16th-century stained glass and portrait drawings by Flemish artist Jean Clouet II; the Chapelle, with sculptures by Jean Goujon and Jacques Sarrazin; and the extensive collection of paintings by 19th-century French artists, headed by Jean-Auguste-Dominique Ingres. In addition, there are grand and smaller salons, all stuffed with palace furniture, family portraits, and Sèvres porcelains, making this a must for lovers of the decorative and applied arts.

Set in the village of Chenonceaux on the River Cher, this was the fabled retreat for the dames de Chenonceau, Diane de Poitiers, Catherine de' Medici, and Mary, Queen of Scots. Spend at least half a day wandering through the château and grounds, and you will see that this monument has an undeniably feminine touch.

More pleasure palace than fortress, the château was built in 1520 by Thomas Bohier, a wealthy tax collector, for his wife, Catherine Briçonnet. When he went bankrupt, it passed to François I. Later, Henri II gave it to his mistress, Diane de Poitiers. After his death, Henri's not-so-understanding widow, Catherine de' Medici, expelled Diane to nearby Chaumont and took back the château. Before this time, Diane's five-arched bridge over the River Cher was simply meant as a grand ceremonial entryway leading to a gigantic château, a building never constructed. It was to Catherine, and her architect, Philibert de l'Orme, that historians owe the audacious plan to transform the bridge itself into the most unusual château in France. Two stories were constructed over the river, including an enormous gallery that runs from one end of the château to the other, a design inspired by Florence's covered Ponte Vecchio, commissioned by a Medici queen homesick for her native town.

July and August are the peak months at Chenonceau, but you can escape the madding crowds by exiting at the far end of the gallery to walk along the opposite bank (weekends only), rent a rowboat or motorboat to spend an hour just drifting on the river (where Diane used to enjoy her morning dips), and enjoy the Promenade Nocturne, an evocative light show performed in the illuminated château gardens.

Before you go inside, pick up an English-language leaflet at the gate. Then walk around to the right of the main building to see the harmonious, delicate architecture beyond the formal garden—the southern part belonged to Diane de Poitiers, the northern was Catherine's—with the river gliding under the arches (providing superb \"air-conditioning\" to the rooms above). Inside the château are splendid ceilings, colossal fireplaces, scattered furnishings, and paintings by Rubens, del Sarto, and Correggio. As you tour the salons, be sure to pay your respects to former owner Madame Dupin, tellingly captured in Nattier's charming portrait: thanks to the affection she inspired among her proletarian neighbors, the château and its treasures survived the Revolution intact (her grave is enshrined near the northern embankment). Grab a snack at the chateau café or sample Chenonceau's own wines at the Caves des Dômes, set in the chateau cellars. The ambitious Orangerie restaurant handles the crowds' varied appetites.

The 18th-century Château de Compiègne, where the future Louis XVI first met Marie-Antoinette in 1770, was restored by Napoléon I and favored for wild weekends by his nephew Napoléon III. The first Napoléon's legacy is more keenly felt: his state apartments have been refurbished using the original designs for hangings and upholstery, and bright silks and damasks adorn every room. Much of the mahogany furniture gleams with ormolu, and the chairs sparkle with gold leaf. Napoléon III's furniture looks ponderous by comparison. Behind the palace is a gently rising 4-km (2½-mile) vista, inspired by the park at Schönbrunn, in Vienna, where Napoléon I's second wife, Empress Marie-Louise, grew up. Also here is the Musée du Second Empire, a collection of decorative arts from the Napoléon III era: its showstopper is Franz-Xaver Winterhalter's Empress Eugénie Surrounded by Her Ladies in Waiting, a famed homage to the over-the-top hedonism of the Napoléon Trois era. Make time for the Musée de la Voiture (Vehicle Museum) and its display of carriages, coaches, and old cars—including the Jamais Contente (Never Satisfied), the first car to reach 100 kph (62 mph).

Framed by majestic avenues of centuries-old plane trees, Château de Courances's style is Louis Treize, although its finishing touch—a horseshoe staircase (mirroring the one at nearby Fontainebleau)—was an opulent 19th-century statement made by Baron Samuel de Haber, a banker who bought the estate and whose daughter then married into the regal family of the de Behagués. Their descendants, the Marquises de Ganay, have made the house uniquely and famously chez soi, letting charming personal taste trump conventional bon goût, thanks to a delightful mixture of 19th-century knickknacks and grand antiques. Outside, the vast French Renaissance water gardens create stunning vistas of stonework, grand canals, and rushing cascades. The house can be seen only on a 40-minute tour.

The glorious Château de Fontainebleau was a pinnacle of elegance and grandeur more than 100 years before the rise of Versailles. The château began life in the 12th century as a royal residence and hunting lodge and still retains vestiges of its medieval past, though much of it dates to the 16th century. Additions made by various royal incumbents—including 30 kings of France—through the next 300 years add up to the fascinating and opulent edifice we see today. Fontainebleau was begun under the flamboyant Renaissance king François I, the French contemporary of England's Henry VIII, who hired Italian artists Il Rosso (a pupil of Michelangelo) and Primaticcio to embellish his château. In fact, they did much more: by introducing the pagan allegories and elegant lines of Mannerism to France, they revolutionized French decorative art. Their virtuoso frescoes and stuccowork can be admired in the Galerie François-Ier (Francis I Gallery) and in the jewel of the interior, the 100-foot-long Salle de Bal (Ballroom), with its luxuriant wood paneling and its gleaming parquet floor that reflects the patterns on the ceiling. Napoléon's apartments occupied the first floor. You can see a lock of his hair, his Légion d'Honneur medal, his imperial uniform, the hat he wore on his return from Elba in 1815, and one bed in which he definitely did spend a night (almost every town in France boasts a bed in which the emperor supposedly snoozed). Joséphine's Salon Jaune (Yellow Room) is one of the best examples of the Empire style—the austere neoclassical style promoted by the emperor. There's also a throne room—Napoléon spurned the one at Versailles, a palace he disliked, establishing his imperial seat in the former King's Bedchamber here—and the Queen's Boudoir, also known as the Room of the Six Maries (occupants included ill-fated Marie-Antoinette and Napoléon's second wife, Marie-Louise).

Although Louis XIV's architectural fancy was concentrated on Versailles, he commissioned Mansart to design new pavilions and had André Le Nôtre replant the gardens at Fontainebleau, where he and his court returned faithfully in fall for the hunting season. But it was Napoléon who spent lavishly to make a Versailles, as it were, out of Fontainebleau.

Created during the reign of Napoléon III for the Empress Eugénie, the exquisite Théâtre Impérial was "rediscovered" in the early 2000s after being closed up in 1941, and today you can see the restored theater's sumptuous golden upholstery, lighting, carpets, and gilded boiserie on one of the château's marvelous tours.

The village of Beuzec-Conq, just outside Concarneau, is home to the Château de Keriolet—a fairy-tale, neo-Gothic extravaganza dating to the 19th century that Walt Disney would have adored. Replete with gargoyles, storybook towers, and Flamboyant Gothic–style windows, this showpiece was constructed by the Comtesse de Chauveau, born Zenaide Narishkine Youssoupov, an imperial Russian princess who was niece to Czar Nicholas II (and related to Prince Youssoupov, famed assassin of Rasputin). Take one of the four daily guided tours through the Arms Room, folkloric kitchen, and grand salons.

There are more grandiose castles in France, but few can offer a more intimate a look at how 16th-century nobles lived than the Château de Losse. Built in 1576 on the site of the family's original 11th-century stronghold, the graceful Renaissance-style structure retains the furnishings, artwork, and other authentic trappings of daily life during the Wars of Religion. The beautiful wooded grounds and extraordinary gardens—winner of the Institute de France's Art of the Garden award—overlooking the Vézère River make for a lovely stroll, and a charming café with a grassy terrace is the perfect place for a gourmet lunch. Although tours of the interior are offered only in French, a detailed text and audio guide in English is provided.

The "new" wing (begun in 1526 and completed in 1540) of this château—which was restored to near perfection in the 1920s—is the prettiest, with a broad art collection, rare old furniture, and ornate stone fireplaces, including two with exotic vases canopes (ancient Aztec figure vases). The château also offers lots of fun activities for kids, and it hosts a series of highly regarded open-air concerts in summer and several contemporary art exhibitions throughout the year.

Built in 1622, La Malmaison was bought by the future empress Joséphine in 1799 as a love nest for Napoléon and herself, three years after their marriage. Theirs is one of Europe's most dramatic love stories, replete with affairs, scandal, and hatred—the emperor's family often disparaged Joséphine, a name bestowed on her by Napoléon (her real name was Rose), as "the Creole." After the childless Joséphine was divorced by the heir-hungry emperor in 1809, she retired to La Malmaison and died here on May 29, 1814. The château has 24 rooms furnished with exquisite tables, chairs, and sofas of the Napoleonic period; of special note are the library, game room, and dining room. The walls are adorned with works by artists of the day, such as Jacques-Louis David, Pierre-Paul Prud'hon, and Baron Gérard. Take time to admire the clothes and hats that belonged to Napoléon and Joséphine, particularly the empress's gowns. Their carriage can be seen in one of the garden pavilions; another contains a unique collection of snuffboxes donated by Prince George of Greece. The gardens are delightful, reflecting Joséphine's love of roses and exotic plants (her collection was one of the most important in France), and especially beautiful when the regimented rows of tulips are blooming in spring.

The exterior of the magnificent Château de Menthon-Saint-Bernard is the stuff of fairy tales (so much so that Walt Disney modeled his version of Sleeping Beauty's castle on it); the interior is even better. The castle's medieval rooms—many adorned with tapestries, Romanesque frescoes, Netherlandish sideboards, and heraldic motifs—have been lovingly restored by the owner, who can trace his ancestry directly back to Saint-Bernard himself. All in all, this is one of the loveliest dips into the Middle Ages you can make in all of Europe. You can get a good view of the castle by turning onto the Thones road out of Veyrier.