134 Best Sights in France

The elaborate turreted tower of the Cathédrale St-Sacerdos, begun in the 12th century, is the oldest part of the building and, along with the choir, all that remains of the original Romanesque structure.

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).

Originally founded in the 12th century, the Cathédrale St-Vincent represents an eclectic range of architectural styles. Inside you can pay homage to Jacques Cartier—who set sail from St-Malo in 1534 on a voyage during which he would discover the St. Lawrence River and claim what is now Québec in his king's name—at his tomb.

A riot of pinnacles and gargoyles embellished with 18th-century wedding-cake towers, the Cathédrale Ste-Croix is both Gothic and pseudo-Gothic. After most of it was destroyed in the 16th century during the Wars of Religion, Henry IV and his successors rebuilt the cathedral. Novelist Marcel Proust (1871–1922) called it France's ugliest church, but most find it impressive. Inside are dramatic stained glass and 18th-century wood carvings, plus the modern Chapelle de Jeanne d'Arc (Joan of Arc Chapel), with a memorial honoring those who died in World War I.

A network of cobbled alleyways rambles across the citadel to the 17th-century Cathédrale Ste-Marie, one of the town's prettiest churches. Inside, classic Baroque style abounds in an explosion of gilt decoration. Numerous works of art from the 18th and 19th centuries, forged metalwork, sculptures, and statues that were generous gifts from the bishops of Mariana, residents of the cathedral from 1604 to 1622, are showcased.

An ensemble of columns, cupolas, and symmetrical ornaments dominates the Vieille Ville, flanked by an 18th-century bell tower and glossy ceramic-tile dome. The cathedral's interior, completely restored to a bright palette of ocher, golds, and rusts, has elaborate plasterwork and decorative frescoes on every surface.

This eccentric chapel was the last designed by Jean Cocteau as part of an artists' colony that never came to be. It's an octagon built around a glass atrium and is embellished with stained glass and frescoes depicting the mythology of the first Crusades. Above the front door, note the tongue-in-cheek painting of the apostles—it features the faces of Coco Chanel, Jean Marais, and poet Max Jacob.

Just above Basilique St-Michel, the smaller Chapelle de l'Immaculée-Conception (aka Pénitents Blancs) answers the main church's grand gesture with its own pure baroque beauty. The sanctuary, dating from 1687, is typically closed to the public; however, on Wednesday between 2:30 pm and 3:15 pm, you can try and slip in to see the graceful trompe l'oeil over the altar and the ornate gilt lanterns early penitents carried in processions.

A superbly balanced pièce-montée (wedding cake) of half-domes and cupolas, this chapel is decorated within an inch of its life with frescoes, faux marble, gilt, and crystal chandeliers. A magnificent altarpiece by Renaissance painter Ludivico Brea crowns the ensemble. Visits are limited to 2:30 to 5:30 pm on Tuesday.

Jean-Michel Folon had a deep affection for the town of St-Paul-de-Vence, where he befriended artists such as César, so it seems fitting that the decoration of its 17th-century Chapelle des Pénitents Blanc was one of the Belgian artist's last projects before his death in 2005. The overwhelming sensations as you enter the chapel are of peace and clarity: eight oil paintings in pastel colors by Folon collaborator Michel Lefebvre line the walls on either side and four stained-glass windows reinforce the themes of generosity and freedom. Sculptures take the place of the traditional altar and font, and the back wall is covered with a mosaic of the town made up of more than 1 million pieces. The chapel demonstrates the versatility of this artist and reflects the town's ability to celebrate its past while keeping an eye on the future. The tourist office can arrange for a 50-minute visite of the chapel in English (€8.50) from Tuesday to Friday, but you'll need to reserve in advance.

Commissioned in 1815, this neoclassical temple marks the original burial site of Louis XVI and Marie-Antoinette. After the deposed monarchs took their turns at the guillotine on Place de la Concorde, their bodies were taken to a nearby mass grave. A loyalist marked their place, and their remains were eventually retrieved by the dead king's brother, Louis XVIII, who moved them to the Basilica of Saint-Denis. He then ordered the monument (which translates to Expiatory, or Atonement, Chapel) built on this spot, in what is now the leafy Square Louis XVI off Boulevard Haussmann. Two massive white-marble sculptures by François Joseph Bosio show the king and queen being succored by angels, while stone tablets below are inscribed with the last missives of the doomed royals, including pleas to God to forgive their Revolutionary enemies.

In the south wing of the Palais Fesch, the neo-Renaissance-style Imperial Chapel was built in 1857 by Napoléon's nephew, Napoléon III, to accommodate the tombs of the Bonaparte family (Napoléon Bonaparte himself is buried in the Hôtel des Invalides in Paris). The Coptic crucifix over the altar was taken from Egypt during the general's 1798 campaign. The somber chapel, which is officially classified as a historical monument, is constructed from the white calcified stone of St-Florent and worth a visit to view its neoclassical cupola and ecclesiastical iconography.

Moustiers was founded as a monastery in the 5th century, but it was in the Middle Ages that the Chapelle Notre-Dame-de-Beauvoir (first known as d'Entreroches, or "between rocks") became an important pilgrimage site. You and other pilgrims can still climb the steep cobbled switchbacks, passing modern stations-of-the-cross panels in Moustiers faience. From the porch of the 12th-century church, remodeled in the 16th century, you can look over the roofs of the village to the green valley, a patchwork of olive groves and red-tiled farmhouse roofs. The forerunner of the star that swings in the wind over the village was first hung, it is said, by a crusader grateful for his release from Saracen prison. It takes about 20 minutes to climb the 262 steps, but remember, what goes up must come down—these worn stone steps yield little traction, so be careful.

Nearly hidden in the hillside and entered by an obscure side door, the grand Chapelle Notre-Dame-de-la-Protection, with its Italianate bell tower, was first built in the 14th century after the fortress had been destroyed; as a hedge against further invasion, they placed this plea for Mary's protection at the village edge. In 1936, the curé (priest) discovered traces of fresco under the bubbling plaster; a full stripping revealed that every inch of the apse had been decorated with scenes of the life of the Virgin and Jesus, roughly executed late in the 16th century. From the chapel's porch are sweeping sea views. Even if it's closed when you stop by (renovations are ongoing), be sure to note the trompe-l'oeil "shadows" delightfully painted on the bell tower portal.

Officially known as the Église de l'Annonciation, this 17th-century Carmelite chapel is a classic example of pure Niçoise Baroque, from its sculpted door to its extravagant marble work and the florid symmetry of its arches and cupolas.

So enamored was Jean Cocteau of this painterly fishing port that he decorated the 14th-century Chapelle St-Pierre with images from the life of St. Peter and dedicated it to the village's fishermen.

The sumptuous rococo style of the Chapelle Ste-Croix, behind the cathedral, makes it look more like a theater than a church. The chapel owes its name to a blackened oak crucifix, dubbed "Christ of the Miracles," discovered by fishermen at sea in 1428 and venerated to this day by Bastia's fishing community. The most ancient church of the town, this chapel has officially been classified as a historic monument since 1931.

A series of tapestries relating the life of the Virgin hangs in Beaune's main church, the 12th-century Romanesque Collégiale Notre-Dame. They are on public display from Easter to mid-November.

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.

Built between 1235 and 1365, this collegiate church is essentially Gothic (the Renaissance bell tower was added in 1572 following a fire). There are some interesting medieval sculptures on the exterior, and the interior, which was heavily vandalized during the Revolution, includes an ambulatory, a rare feature in Alsatian sanctuaries.

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.

The 16th-century Church of the Immaculate Conception occupies a cobblestone square. Step inside the Baroque portal to admire the church's ornate 18th-century interior, requiring a bright day to see much detail as interior lighting is quite dim. The walls are covered with wood carvings, gold, marble, and velvet fabric. Check out the altar's interpretation of the Assumption by Murillo, whose original version sits in Madrid's El Prado Museum.

This sanctuary served as the region's cathedral until the bishopric was transferred to Grasse in 1244. The church's 18th-century facade, a marvelous Latin mix of classical symmetry and fantasy, has been restored in stunning shades of ocher and cream. Its stout medieval watchtower was built in the 11th century with stones "mined" from Roman structures. Inside is a Baroque altarpiece painted by the Niçois artist Louis Bréa in 1515.

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.

With its rows of uncompromising columns, this enormous neoclassical edifice in the center of Place de la Madeleine was consecrated as a church in 1842, nearly 78 years after construction began. Initially planned as a Baroque building, it was later razed and begun anew by an architect who had the Roman Pantheon in mind. Interrupted by the Revolution, the site was razed yet again when Napoléon decided to transform it into a Greek-inspired temple dedicated to the glory of his army. Those plans changed when the army was defeated and the emperor deposed. Other ideas for the building included making it into a train station, a market, and a library. Finally, Louis XVIII decided it should be a church, which it still is today. A recent cleaning has restored the sooty facade's original luminosity (notice the contrast with the building's nether half, still awaiting a cleaning). A continuous program of classical concerts (some of them free) are a joy to attend here under the soaring ceilings.

The Flemish-influenced Madonna of the Rosebush (1473), noted German artist Martin Schongauer's most celebrated painting, hangs in the Église des Dominicains. Stolen from St-Martin's in 1972 and later recovered, the work has almost certainly been reduced in size from its original state. It nevertheless still makes an enormous impact. The grace and intensity of the Virgin match that of the Christ Child, yet her slender fingers dent the child's soft flesh (and his fingers entwine her curls) with immediate intimacy. Schongauer's text for her crown is: Me carpes genito tuo o santissima virgo (Choose me also for your child, O holiest Virgin).

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).

If Nice's other chapels are jewel boxes, this is a barn. Broad, open, and ringing hollow after the intense concentration of sheer matter in the Miséricorde and Ste-Rita, it seems austere by comparison. That's only because the decoration is spread over a more expansive surface. If it's possible, this 17th-century Baroque chapel is even more theatrical and over-the-top than its peers. Angels throng in plaster and fresco, pillars spill over with extravagantly sculpted capitals, and from the pulpit (to the right, at the front) the crucifix is supported by a disembodied arm.

One of Europe's largest underground churches, the Église Monolithe was hewn out of the rock face between the 9th and 12th centuries by monks faithful to the memory of St-Émilion, an 8th-century hermit and miracle worker. Its spire-top clocher (bell tower) rises out of the bedrock, dominating the center of town. The church can only be visited on a guided tour reserved online in advance via the tourist office website. The visit includes the catacombs and the underground cell of St-Émilion.