Bright and early in the morning we headed to the train station and caught a train to Marseilles.
From there we rented a car and drove to Arles, first in the wrong direction, but we figured it out, don’t ask. We arrived at our AirBnb, a very unassuming apartment in Arles’s old city.
By the time we got settled in there was little left to the day. We headed to the main square in town for a delicious Moroccan meal.
We wandered out through the old gate: Porte de la Cavalerie (Cavalry Gate), a medieval gateway that marked the northern entrance to the old city. The structure consists of two crumbling round towers that date back to the 12th century. The gate is named after the nearby Bourg-Neuf district, later known as “Cavalry,” where the Knights Templar was established.
Just inside the gates is the historic center of Arles with several restaurants. At the end stands Amédée Pichot fountain.
Built in 1868, this monument honors the French historian and author Amédée Pichot. It features a central medallion made of enamelled earthenware tiles and is designed to resemble a leaning fountain.The structure includes commemorative inscriptions in both Latin and Provençal.
The light was starting to wane as we headed back to our apartment, but our eyes were caught by a church up on the hill: the tower of the Église Notre-Dame-de-la-Major (Church of Notre-Dame-la-Major). We had to go investigate.
Situated at the top of the Hauture hill, this historic church’s construction, originally in the 5th century, was rebuilt on this site starting in 1152 AD. The tower features a stone spire topped by a statue of the Virgin and Child, along with a prominent clock face.
This historic Catholic church was originally consecrated in 452 AD. It had been constructed on the ruins of a Roman temple. The structure exhibits Gothic architectural elements.
We took a peak inside. The architecture prominently features a Romanesque style with a vaulted nave. The interior includes a central aisle leading to the altar, flanked by stone arches and rows of wooden pews.
We climbed all the way to the top of the hill. It was worth the effort; the view over Arles as the sun was setting was beautiful.
It had been a long day, and our light was fading fast, so we decided to save our touring of Arles for a market day. In the morning we headed for nearby Nîmes. Dubbed the most Roman city outside Italy, Nîmes, a small city in Southern France, is steeped in history that harks back to the days of the mighty Roman Empire. The name itself holds clues to the city’s origin, reflecting Celtic roots and connection with the local god, Nemausus, associated with a healing spring. The hill of Mount Cavalier, once a preRoman Celtic fortified settlement, served as the birthplace of the city. Nîmes truly flourished during Roman times becoming a Roman colony, Colonia Nemausus, before 28 BC, where veterans of Julius Caesar’s legions were granted land. Eventually, this regional capital had a population of 50,000–60,000. Several monuments from that era are still in place and have earned Nimes its nickname, the “French Rome”. Over the centuries, Nîmes faced the challenges of history, including Visigoth rule in 472 and later, the Umayyad conquest in 725. The city witnessed turmoil and transformation but retained its Roman heritage.
One of the prominent landmarks in Nîmes is the Charles-de-Gaulle Esplanade, a vast open space that offers a perfect starting point for exploring the city. We parked in the heart of the city near the Fontaine Praier situated on the Esplanade Charles de Gaulle. This monumental marble fountain was inaugurated in 1851. It was designed by the French sculptor James Pradier and architect Charles Questel. The central statue allegorically represents the city of Nîmes, crowned by a miniature replica of the Roman Maison Carrée monument.
Le taureau des arènes” (The bull of the arena), a sculpture created by contemporary Georgian artist Djoti Bjalava, was inaugurated during the Feria des Vendanges (grape harvest festival) in 2005. It represents the city’s strong bullfighting traditions and heritage.
The Palais de Justice (Courthouse), built between 1838 and 1846, serves as the main court building for the city and the Gard department. It is designed in a neoclassical style, inspired by classical Greek architecture.
The Arena of Nîmes is a magnificent Roman amphitheatre. Erected around 100 CE, shortly after the renowned Colosseum of Rome, this arena stands as one of the world’s most exceptionally preserved Roman amphitheatres. With its remarkable dimensions, the Arena of Nîmes measures 436 feet in length and 331 feet in width. Its grand outer facade soars to a height of 69 feet and boasts two stories adorned with 60 arcades. Among the 400 Roman amphitheatres known to exist, it ranks among the 20 largest. In ancient times, this grand structure had the capacity to accommodate a crowd of 24,000 spectators. The arena served a dual purpose, functioning as a venue for public events and theatrical performances while also hosting gladiator battles that captivated the masses. Presently, the Arena of Nîmes continues to play a central role in the city’s cultural life. It hosts two annual bullfights as part of the Feria de Nîmes. Additionally, the arena serves as a captivating backdrop for various public events, including reenactments of antiquity such as “The Great Roman Games” and concerts. “
At the entrance to the arena stands the statue of Christian Montcouquiol, known as Nimeño II, proudly, earning it the name “Hero”.
Opened in 2018, the Museum of Romanity is strategically situated along the historic site of the old Roman ramparts, directly facing the iconic 2,000-year-old arena. The museum’s inception was driven by a series of remarkable archaeological discoveries made between 2006 and 2007. The ultra-modern building resembles a “folded glass toga.” But we had too much to see in the city, so we did not explore inside.
Maison Carrée (Square House) stands as a remarkable testament to Roman architecture and religious devotion in the city. This ancient Roman temple is celebrated as one of the best-preserved examples of Roman temples within the former Roman Empire’s territory. It served as a mid-sized Augustan provincial temple dedicated to the Imperial cult, specifically as a caesareum. The Maison Carrée embodies elements of a Tuscan-style Roman temple as described by Vitruvius, a Roman writer on architecture from the same era, albeit with the use of the Corinthian order. The presence of this extensive porch distinctly highlights the temple’s frontal aspect, setting it apart from the designs of ancient Greek temples. The Maison Carrée has had a profound influence on architecture throughout history including the inspiration of the design by Thomas Jefferson of the Virginia State Capitol in the United States.
In Place d’Assas (square of Assas) is a fountain, known as La Source de l’Étoile (The Source of the Star), designed by the French artist Martial Raysse and inaugurated in 1989 as part of the modernization of the square.
The fountain has a long narrow waterway to which is attached a large head which represents Nemausus, the masculine deity associated with the city of Nîmes.
We crossed a small stream and entered Jardins de la Fontaine (Fontaine Gardens). The layout of the gardens was part of an 18th-century project to enhance the beauty of Nîmes and is framed by the remnants of the ancient city walls.
Originally, the site was home to a sacred spring venerated by the people long before the Romans arrived. In fact, the source of the Fontaine played a significant role in the founding of the city centuries before the Gallo-Roman era.
Created in 1745 by order of King Louis XV to organize the area around the original Roman spring of the city. the Fountain Gardens is one of the earliest public parks in Europe. The architecture includes statues, waterways, and fountains nestled at the foot of Mont Cavalier.
The central feature is a nymphaeum (water monument) dedicated to the nymph Nemausa.
Near the gushing spring of “La Fontaine” sits the Temple of Diana, a remarkable 1st-century ancient Roman structure, which stands as a testament to the architectural and historical richness of the region. This structure was built during the reign of Augustus and is closely associated with an Augusteum, a sanctuary dedicated to the veneration of the emperor and his family, with a central focus on a nymphaeum.
Although traditionally referred to as the Temple of Diana, its basilica-like floor plan raises questions about its classification as a temple, and there is a lack of archaeological or literary evidence to support its dedication to Diana. Some suggest that this building may have served as a library instead. During the 2nd century, its façade was reconstructed, and in medieval times, it found use as a monastery, which contributed to its preservation over the years.
We then climbed Mont Cavalier to Tour Magne (Magne Tower), a remarkable Gallo-Roman monument that stands as a sentinel over the Gardens of the Fountain. It holds the distinction of being the most impressive remnant of the extensive Roman wall that once encircled the city. In Roman times, due to its structural integration into the city’s defensive wall, it likely served dual functions as a defensive fortification and as a watchtower or signal tower. Its considerable height in the Roman era was also a potent symbol of Roman authority and might, asserting its dominance over the cityscape.
Castellum Aquae (Water Castle) is an intriguing Roman site that played a vital role in the city’s water distribution system during antiquity. This unassuming structure once served as the critical point where the city’s water supply, brought in from the aqueducts, was collected and subsequently dispersed throughout Nîmes. Constructed during the middle of the first century AD, Castellum Aquae stood as an engineering marvel of its time, functioning in conjunction with the renowned Pont du Gard aqueduct (more on this below). The water would embark on an impressive journey of approximately 31 miles, traveling over the Pont du Gard, before reaching this distribution hub. The structure features round apertures, through which lead pipes conveyed the water to various fountains and public baths, ensuring that Nîmes’ inhabitants had access to this precious resource. At the rear of Castellum Aquae, a sluice gate was employed to control and regulate the flow of water. This level of hydraulic engineering showcased the Romans’ mastery of aqueduct systems and their understanding of how to efficiently manage water resources.
This green door is the entrance to Les Halles de Nîmes, a famous large indoor market featuring over 100 stalls selling fresh produce, local products, and other goods. But alas, as it is a morning market, it was no longer open by the time we arrived.
Porte d’Auguste (Augustus Gate), which can be traced back to the 1st century BCE, as indicated by an inscription. was a crucial component of the extensive Roman wall that surrounded the city of Nîmes and served as one of the primary entrances to the city.
This gate boasts four semicircular arch passages, consisting of two large central ones for vehicular traffic and two smaller lateral passages designed for pedestrians. In its original form, the gate was flanked by two semicircular towers.
The Augustus Gate derived its name from Emperor Augustus, who played a pivotal role in fortifying the town. Near the gate is a modern copy of a statue of Augustus.
Saint-Baudile Church is a large Neo-Gothic church built in the 19th century. It is known for its two prominent tall spires that dominate the skyline.
Nîmes Cathedral is a significant Roman Catholic church dedicated to the Blessed Virgin Mary and Saint Castor of Apt, a local patron saint. Throughout its history, Nîmes Cathedral has served as the seat of the Bishops of Nîmes. The cathedral is believed to occupy the site where the former temple of Augustus once stood. Its architecture is a blend of Romanesque and Gothic styles, showcasing the diverse historical influences that have shaped Nîmes over the centuries. Unfortunately it was undergoing extensive renovations which precluded us from visiting.
Place de l’Horloge (Clock Square), with its blend of shops and café terraces, is popular meeting place for both locals and visitors. We stopped for a snack and a drink.
The history of this monument is closely intertwined with Nîmes itself. In 1410, the city’s residents sought and obtained permission from the King to erect a clock tower with a public-use bell. Prior to this, the citizens relied on the bell of the Cathedral for timekeeping and as a warning signal during times of conflict or war. This shared use of the steeple led to disputes, including the canons’ refusal to allow a sentinel on the church’s belfry. The conflicts persisted until an agreement was reached to transfer the bell to the city. The decision was facilitated by a trade-off: the city agreed to ban foreign wines from entering Nîmes, while the canons provided the bell. In return for their cooperation, wines produced in the canons’ vineyards outside the Nîmes region were granted entry into the city.
The original clock tower faced the threat of ruin over the years. However, in 1752, it was reconstructed and adorned with an octagon-shaped wrought iron bell tower. This elegant structure not only tells the time but also serves as a symbol of Nîmes’ rich history and culture.
The official seal of the city of Nîmes depicts a crocodile chained to a palm tree. This symbol commemorates the victory of Emperor Augustus’ soldiers in Egypt, many of whom settled in Nîmes after their campaign. These brass markers are often used to designate walking trails or historical sites throughout the city.
Also found on bollards, this symbol originates from a Roman coin minted to commemorate the victory of Julius Caesar’s legions in Egypt. The palm tree symbolizes victory, while the crocodile represents Egypt.
We noted this colorful carousel. Little did we appreciate how many we were to see in the coming days.
A statue of the French author, poet and statesman Alphonse de Lamartine (1790-1862), seated and writing, is located in the Square de la Couronne. Alphonse de Lamartine, was a leading figure in the 1848 French Revolution and was instrumental in the foundation of the Second Republic.
Église Sainte-Perpétue et Sainte-Félicité is a Roman Catholic church constructed between 1852 and 1864 in the Neo-Gothic architectural style. The structure is known for its intricate facade and tall bell tower. The church is dedicated to Saints Perpetua and Felicity, early Christian martyrs.
And finally we found ourselves back where we had begun. The creation of Charles-de-Gaulle Esplanade dates back to the first half of the 16th century when Consul Jacques d’Albenas wanted to provide the city with a platform for artillery exercises . The space then laid out south of the Crown Gate also served for the official reception of dignitaries visiting the city. While some improvements were made in the 17th century, it was only in the 19th century that the esplanade became a true promenade. In 1841, the Nîmes city council decided to develop Avenue Feuchères and the esplanade, including aligning it with the current Boulevard de la Libération. New semi-circular walkways were then lined with groves of trees, flowers, and balustrades. These improvements were completed in 1861 with the inauguration of the monumental Pradier Fountain.
We drove to nearby Pont du Gard is one of the best preserved ancient Roman aqueduct bridges.
Built in the first century AD to carry water over 31 miles to the Roman colony of Nemausus (Nîmes), it crosses the river Gardon near the town of Vers-Pont-du-Gard in southern France.
Vers-Pont-du-Gard is a small village famous for its local yellow limestone quarries, which provided the stone used to build the Roman aqueduct.
The stones, or blocks, sticking out from the Pont du Gard are not unfinished, but were intentionally left by Roman engineers to support wooden scaffolding and lifting machinery during the 1st-century construction. These protruding blocks, often found on the arches, facilitated maintenance and allowed for secure, temporary work platforms
The bridge has three tiers of arches made from limestone and stands 160 ft high. The aqueduct formerly carried an estimated 11,000,000 gal of water a day over 31 miles to the fountains, baths and homes of the citizens of Nemausus (Nîmes). The structure’s precise construction allowed an average gradient of 0.39 in 598 ft. It may have been in use as late as the 6th century, with some parts used for significantly longer, but lack of maintenance after the 4th century led to clogging by mineral deposits and debris that eventually stopped the flow of water.
After the Roman Empire collapsed and the aqueduct fell into disuse, the Pont du Gard remained largely intact with a secondary function as a toll bridge. For centuries the local lords and bishops were responsible for its upkeep, with a right to levy tolls on travellers using it to cross the river. Over time, some of its stone blocks were looted, and serious damage was inflicted in the 17th century. It attracted increasing attention starting in the 18th century, and became an important tourist destination. A series of renovations between the 18th and 21st centuries, commissioned by local authorities and the French state, culminated in the year 2000 with opening of a new visitor centre and removal of traffic and buildings from the bridge and area immediately around it. Today it is one of France’s most popular tourist attractions.
We returned to Arles late and enjoyed yet another delicious meal in the old town square.
We were amused to find the communist party headquarters In Voltaire Square.
Our next adventure was to a town in the middle of the Little Alps: Saint-Rémy-de-Provence, a town, which has been inhabited since prehistory, famous for its Roman history, medieval streets, and as the birthplace of Nostradamus. But Saint-Rémy-de-Provence is visited primarily for its association with artist Vincent van Gogh. The 11th-century Saint-Paul de Mausole monastery, famous for housing Vincent van Gogh in 1889, was originally founded as a Benedictine priory. We followed a Van Gogh self-guided tour through the town and its immediate surrounds.
The tour began at Porte Saint-Paul, a stone gate that is part of the original 14th-century walls that once encircled the city. The archway, one of the few remaining gates of the medieval wall, leads into the old town center
Place Jules Pellissier, a sunlight-dappled Provençal square where ancient plane trees shelter café-goers.
City Hall (Hôtel de Ville) of Saint-Rémy-de-Provence, situated at the top of Place Jules Pellissier, was formerly an Augustine convent until the 17th century when it was repurposed for civic life. After the revolution it became the town hall. It flies both the French and city flags.
The central emblem features a shield surrounded by a decorative wreath and crowned, indicating its original noble or religious significance.
In the center of Place Jules Pellissier stands the The Fontaine de Quatre Dauphins (Fountain of Four Dolphins), modeled after a similar one in Aix-en-Provence. It was the centerpiece of the former convent garden. The dolphins symbolize purity and abundance. The fountain was dedicated by Louis XVII in 1814.
Around the square are several cute shops and cafes.
Musée Estrine, originally known as the Hôtel Estrine, was constructed in 1748 and originally served as the residence for the representatives of the Princes of Monaco. The museum is now dedicated to the life and works of Vincent van Gogh.
Fontaine Nostradamus features a bust dedicated to Nostradamus, the famous 16th-century French astrologer and physician born in this city. Originally built in the Middle Ages for drinking water, the fountain was redesigned in the 18th century, with the current bust of Nostradamus replacing an earlier one of King Louis XVI. It is now receiving a TLC restoration.
Place Favier showcases Renaissance-era building styles, including the Hôtel de Sade nearby. Formerly known as the “Place aux Herbes” (herbs market square), it was renamed in 1849 in honor of Doctor Favier (1773–1862), a local physician celebrated for his lifelong dedication to treating the poor. The square is characterized by its large, shady plane trees, a 15th-century arch connecting residential buildings, and a distinctive crenellated round tower that adds to its medieval charm. Today, it remains a tranquil spot popular for its outdoor cafés and a quiet escape from the busier market streets.
The Hôtel de Sade embodies the power of the de Sade family, ennobled by the Pope in the 14th century. Currently the “archaeological museum” of the Glanum site, the Hôtel de Sade is a building that has undergone constant architectural evolution since the 4th century AD when it was originally Roman baths.
The Alpilles Museum is housed in the Mistral de Mondragon mansion, a former Renaissance private mansion. Classified as a historical monument since 1862, the building is built around an admirable interior courtyard.
The Collégiale Saint-Martin (Collegiate Church of St. Martin) is a historic Catholic church known for its blending of traditional: a 14th-century Gothic bell tower with the neoclassical: a 19th-century neoclassical façade. In 1132 it was built for the local parish.
But in 1331 it was elevated to a collegiate church by Pope John XXII. In 1818 there was a partial collapse of the bell tower which was rebuilt in 1821, from which time the bell tower has become a symbol of resistance and perseverance.
Nostradamus (Michel de Nostredame), a famous 16th-century physician and clairvoyant was born in this house on December 14, 1503. Nostradamus grew up in this region and later became famous for his book Les Prophéties, a collection of 942 poetic quatrains allegedly predicting future events. The building is now a private residence, but tourists frequently visit the exterior to see the commemorative plaque and green door.
The former Hôpital Saint-Jacques (Saint-Jacques Hospital), a historic structure made of stone, was originally built within the town’s ancient fortifications in 1046.
As we left the town’s historic center we passed something we had never seen on a public city street: a condom vending machine.
Outside of the city center sits Notre Dame de Pitié chapel. Built, according to historical records, around 1525 with a single nave, the Notre Dame de Pitié chapel was enlarged with two side aisles between 1650 and 1670, and then with a porch in 1685. Notre Dame de Pitié chapel now hosts contemporary art exhibitions.
Outside of the historic city center is where Vincent Van Gogh spent his time. After a break down in Arles, Van Gogh voluntarily committed himself from May 1889 to May 1890 to Saint-Paul de Mausole, a 12th-century former monastery and active psychiatric hospital. He was given two rooms, one for use as his studio. During his stay he was quite prolific, painting nearly150 works.
At this point on the self-guided walking tour we were instructed to note scenes which were inspiration to Van Gogh’s paintings, many of which were drawn while he had a day pass from the psychiatric hospital. He painted many cyprus trees. Their tall stance pointing heavenward symbolize spiritual seeking.
Some of the scenes are marked with plaques showing the Van Gogh painting inspired by the locale.
Van Gogh’s famous “Almond Blossoms” was painted for his brother after the birth of his brother’s first child, offering him joy during a dark time in Van Gogh’s life. Flowering trees were special to van Gogh; they represented awakening and hope. Olive trees represent peace, endurance and reconciliation, triumph and humility.
Just on the outskirts of Saint-Rémy-de-Provence can be found “Les Antiques,” ancient Roman monuments located at the entrance to the archaeological site of Glanum. These monuments represent some of the best-preserved remnants of Gallo-Roman architecture in France.
On the left is an 18-meter-high Mausoleum of the Julii dating back to 30-20 BC, built by the three Julii brothers in honor of their ancestors. The reliefs around the base symbolize eternal life.
On the right is a Triumphal Arch from 20 AD, which served as the gateway to the city of Glanum. The carvings on the arch show Roman generals, their prisoners, and local fruits, which are symbols of power and prosperity.
We drove a short distance to Carrières des Lumières, a unique multimedia art center located in Les Baux-de-Provence, France. It is a former limestone quarry transformed into an exhibition space where artworks are projected onto massive rock walls, pillars, and the floor. The immersive experience covers thousands of square meters, allowing visitors to walk through digitized paintings and art history. Different art shows are hosted throughout the year, featuring famous artists and themed exhibitions. When we arrived they were showing the works of Henri Rousseau (1844-1910), a French post-Impressionist painter in the Naïve or Primitive manner.
Ridiculed during his lifetime by critics, he came to be recognized as a self-taught genius whose works are of high artistic quality. Rousseau’s work exerted an extensive influence on several generations of avant-garde artists.
Next up were the works of Claude Monet (1840-1926), a French painter and founder of Impressionism who is seen as a key precursor to modernism, especially in his attempts to paint nature as he perceived it.
During Monet’s long career, he was the most consistent and prolific practitioner of Impressionism’s philosophy of expressing one’s perceptions of nature, especially as applied to plein air (outdoor) landscape painting.
Monet is best known for his paintings of water lilies in his garden in Giverny, which occupied him for the last 20 years of his life. Words and pictures can barely capture the awe inspiring experience of Carrières des Lumières.
Back in Arles for the night we dined at the Smoking Pig restaurant, so delicious.
Finally it was market day in Arles. We were pleasantly surprised at the wide assortment of goods on display. One side of the market were dry goods including everything from clothing
to shoes and jewelry,
to cleaning and repair job hardwares,
and entertainments including DVDs and music.
The food side had not only the usual breads and cheeses, but also varieties of olives
dried mushrooms,
spices,
dried fruits,
and fresh fish.
We bought and injoyed treats for breakfast. At the edge of the market was a little Monument to the Dead of the Resistance, which honors those who died during World War II.
After breakfast it was time to further explore Arles. First stop was the Arènes d’Arles (Arles Amphitheater), a premier 1st-century (circa 90 AD) Roman monument renowned for its excellent preservation. When built it helped make Arles a major Roman colony in Gaul.
As a UNESCO World Heritage Site, it features a 3-story structure with 60 arches, showcasing both Roman engineering and classical Greek influence, and has two tiers with seating for 21,000 spectators. Originally built for gladiator battles, it now hosts bullfights and concerts.
Following the fall of the Roman Empire, it was turned into a fortified village. Over 200 houses and four defensive towers were built within its walls; three of these towers are still visible today.
From the top of the seating is a spectacular view of Arles and the Rhone River below.
Also from this vantage point Luma Arles tower, a cultural center designed by architect Frank Gehry completed in 2021, can be seen.
Theatre Antique d’Arles (Ancient Theater of Arles), is one of the earliest monumental structures built in the city following its Roman colonization, around the late 1st century BC under Emperor Augustus. Designed to showcase drama, poetry, and public entertainment, the theatre could once welcome more than 8,000 spectators who gathered to enjoy performances celebrating Roman culture and civic unity. Although much of its original grandeur has faded over the centuries, the structure remains an essential reminder of Arles’s role as a thriving provincial center in the Roman Empire.
Like many ancient sites, the theatre suffered significant dismantling during the Middle Ages, when its stones were reused to construct churches and fortifications. Even so, several remarkable features endure, including the remnants of the seating area and the circular orchestra in front of the stage. However, the most alluring of elements is a pair of elegant marble columns still standing behind the stage — a stunning fragment of what was once a richly decorated stage backdrop. These columns became known as the “Two Widows,” much like two wives awaiting their lost husbands.
Today, the Ancient Theater blends heritage with living culture. From the end of June to the end of August, it hosts the Arles and Costume Festivals, the International Photography Meetings and the Peplum Film Festival. You are more than welcome to enjoy them just like the Romans once did — under the open Provençal sky.
Place de la Republique (Republic Square) serves as the city’s elegant and historic centerpiece. Paved with cobblestones and framed by impressive architecture, the square beautifully reflects Arles’s layered past. At its center rises the Arles Obelisk. Around it stand several of Arles’s most remarkable landmarks: the Church of Saint Trophime, the Town Hall, and the Arles St. Anne Church.
Obelisque d’Arles (Arles Obelisk) was carved from a single block of granite. The monument dates to the 4th century AD, when it originally adorned the Roman circus of Arles, a grand arena once used for chariot races. After the fall of the Roman Empire, the obelisk was lost to time, later rediscovered in fragments during the 17th century and re-erected in 1676. Interestingly, unlike other Roman monuments, the obelisk lacks inscriptions.
Cathedrale Saint-Trophime d’Arles (St. Trophime Cathedral) is one of the greatest masterpieces of Romanesque architecture in Provence. The cathedral was built between the 12th and 15th centuries on the site of an earlier church. For centuries, it served as the seat of the archbishops of Arles and as an important stop along the pilgrimage route to Santiago de Compostela, contributing significantly to its artistic and religious prominence. The church was downgraded from a cathedral to a parish church in 1801, but raised to a minor basilica by Pope Leo XIII in 1882.
The most celebrated feature of Saint Trophime is its magnificent Romanesque portal, sculpted around 1180. The façade depicts the Last Judgment, with Christ in Majesty surrounded by apostles, angels, and symbolic creatures — a stunning display of medieval craftsmanship. The detailed carvings make the portal one of the finest in France, unfortunately currently covered in scaffolding. .
The interior of the Church of Saint-Trophime features a high, stone-vaulted nave with banded barrel vaults typical of the southern Romanesque style
while the choir section features flamboyant Gothic style additions.
The Cathedral of Saint-Trophime houses a significant collection of 17th and 18th-century Aubusson tapestries within its treasures. These, along with other Aubusson works from the period, often feature intricate scenes—ranging from pastoral landscapes and “verdure” (foliage) to biblical scenes like this Nativity.
Aubusson tapestry “Nativity“
the Church of St. Trophime has a beautifully intricate pulpit.
In a side aisle of the former Benedictine abbey church is another stunning pulpit crafted from stone and features intricate carvings. The base of the pulpit is sculpted with figures resembling a bull and a lion.
In another side chapel the baptismal font can be found.
The cathedral houses fine sculptures from the 12th century, particularly within its cloisters, more on those later.
Town Hall and Cryptoporticus of Arles was completed in 1676, during a period when Arles sought to reaffirm its civic prestige. Designed in an elegant Provençal classical style, its harmonious façade and well-proportioned clock tower stand proudly on Republic Square, symbolizing the authority of the city’s magistrates.
Inside, its grand staircase is crafted using stones recovered from ancient Roman buildings.
As a stylish bonus, the staircase also features a replica of Venus of Arles. The original ancient Greco-Roman sculpture was deemed to be a great gift for King Louis XIV, hence it was moved to the Versailles Palace itself.
Directly beneath Republic Square and the Town Hall lies the Cryptoporticus of Arles. Constructed around 30 BC during the Roman colony’s early development, this network of semi-subterranean vaulted galleries once supported the ancient forum above.
The structure likely served multiple roles, including storage, administrative functions, and stabilization of the civic center built on uneven terrain.
Eglise Sainte-Anne d’Arles (Arles St. Anne Church) was originally constructed in the 12th century as the Church of Notre-Dame-la-Principale, The Church of Saint Anne once served as a parish church closely linked to the neighbouring cathedral. Over time, its role shifted dramatically. In the 17th century, the building was repurposed as a seminary, later becoming a burial site for prominent canons of Saint Trophime. It was also during the 17th century that the church received its current name. Consecrated on the feast day of Saint Anne, the dedication was far from coincidental: the church once safeguarded revered relics of Saint Anne, including a vermeil bust.
Although no longer functioning as a church, Saint Anne retains its solemn Romanesque character. The simplicity of its façade and the solid lines of its architecture bring back ideas of medieval craftsmanship.
The Cloister of Saint Trophime in Arles is one of the finest examples of Romanesque and early Gothic architecture in southern France. Built between the 12th and 14th centuries, it adjoins the Church of Saint Trophime, which was once the cathedral of Arles. The cloister served as the residence and contemplative space for the cathedral’s canons, providing a serene environment for prayer, study, and reflection.
Unusually, the cloister connects to the church’s choir by a staircase of twenty-five steps — a rare arrangement, as cloisters are typically accessed from the nave or transept.
The cloister itself was built during the 16th century as part of a larger monastic complex. It served as a vital site for religious practice and remains a symbol of medieval monastic life in France.
What makes the Saint Trophime Cloister particularly exceptional is its remarkable sculptural decoration. Each gallery is adorned with intricately carved capitals and reliefs depicting biblical narratives, saints, and symbolic motifs that illustrate the transition from Romanesque to Gothic art. Visitors can observe this evolution firsthand: the older northern and eastern galleries feature rounded Romanesque arches, (to the right below) while the later southern and western galleries display the pointed arches characteristic of the Gothic style (to the left below). We were impressed with the number of art students, not just in the cloister but throughout the city.
The Corner Pillars (Piers) at the gallery intersections feature large-scale, high-relief figures and narrative panels. On the North-West Corner (St. Trophime) the primary focus is Saint Trophime, the first bishop of Arles, depicted between Saint Peter and Saint John.
The smaller paired columns feature “historiated” capitals (capitals that tell a story).
The eagle represents the authority of the Holy Roman Emperor, while the accompanying heraldic elements signify the city of Arles.
After thoroughly exploring the cloisters, we wandered down Rue de la Republique (Republic Street), one of the principal thoroughfares in Arles and a natural route for anyone exploring the heart of the city. Its origins align with 19th-century urban modernization, when Arles redesigned parts of its medieval street network to create a grander, more functional promenade leading directly to Republic Square. The wide, straight layout contrasts with the surrounding maze of narrow historic alleys. Lined with shops, cafés, bookshops, and boutiques, the street also features handsome 19th-century façades and subtle architectural details that highlight Arles’s evolution from an ancient Roman colony into a modern Provençal city.
The 17th-century doorway of the Hôtel de la Lauzière, framed by two distinctive twisted columns with Corinthian capitals, demonstrates the upward mobility and architectural influence of wealthy families in Arles during the Classical period. The portal is a notable example of French Mannerist architecture.
Place du Forum (Forum Square) stands on the site of what was once the vibrant political and commercial heart of the Roman city of Arelate. Established in the 1st century BC during the urban expansion under Emperor Augustus, the Roman forum served as a grand public space lined with temples, administrative buildings, and arcades where citizens gathered to debate politics, conduct business, and participate in public life. Although the ancient structures have mostly disappeared beneath centuries of urban development, the square remains an important reference point for understanding the early formation of Arles.
Today, Forum Square preserves only a small but striking architectural fragment from its Roman past: the “Two Columns.” These Corinthian shafts, built into the corner of a later building, provide a reminder of a former temple dedicated to the Roman Emperor Augustus.
In the center of the square stands a statue of Frédéric Mistral (1830–1914), a renowned French writer and Nobel Prize laureate, who was instrumental in reviving the Provençal language and literature.
The square also carries cultural significance through its association with artists such as Vincent van Gogh, who painted scenes of the neighborhood during his time in Arles.
We made our way to the Thermes de Constantin (Baths of Constantine). Built in the early 4th century AD during the reign of Emperor Constantine the Great, they formed part of a larger palatial complex overlooking the Rhône and served as a place where citizens could enjoy bathing, relaxation, and social interaction, a staple of Roman urban culture. Although only a portion of the baths survives today, what remains offers a vivid impression of their original scale and function.
The best-preserved section includes the caldarium, or hot room, recognizable by its thick walls and semi-domed architecture that once supported an elaborate heating system known as the hypocaust, which circulated warm air beneath the floors. Fragments representing the frigidarium and tepidarium (the cold and warm rooms) recall the ritual progression of Roman bathing. The brick arches, vaulted ceilings, and traces of marble decoration highlight the sophistication of Arles as a Roman colony and the comfort and luxury that bathers could enjoy nearly 1,700 years ago. The Baths of Constantine are among the best-preserved Roman baths in France,
Art museum Musee Reattu (Reattu Museum) dates from the late 18th century when Jacques Réattu, a prominent Arles-born painter and Grand Prix de Rome laureate, acquired the former Commandery of the Knights of Malta and transformed part of the building into his residence and studio. After his death in 1833, the property and his artistic collection remained in the family until the mid-20th century, when the City of Arles purchased the estate and opened the museum in 1965. It was too nice and too late in the day to go inside.
The coat of arms next to the door is that of the knights of Malta.
As the day lingered we found tranquility by the Rhone.
Ruins of the Pont aux Lions (“Bridge of Lions) spanning the Rhône River are the remains of a railway bridge built in 1868 that crossed the Rhône River.
The bridge was destroyed by Allied bombing on August 6, 1944, during World War II to disrupt German transport routes. The remaining structure on the eastern bank now serves as a historical monument and viewpoint overlooking the river.
This location is a frequent sight on river cruises traveling through the Provence region.
It is also the site where Van Gogh created “Starry Night over the Rhône,” a precursor to his famous “Starry Night,” which he painted while in the hospital in St. Remy.
According to writings by Gauguin, a friend and contemporary of Van Gogh’s, “Starry Night” was a turning point for Van Gogh as he “let go” from reality and embraced the abstract.
Van Gogh rented four rooms nearby in the “Yellow House,” also a subject of one of his paintings. Vincent had finally found a place at the Yellow House where he could not only paint but also have his friends come to stay.
His plan was to turn the yellow corner-building into an artists’ house, where like-minded painters could live and work together.
Finally we had come to where we had started: the twin towers that served as defensive city fortifications during the Middle Ages.
Jo & Eric's travels 