Republic Street is 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.

Today, Republic Street plays an important role as a commercial and cultural artery. Lined with shops, cafés, bookshops, and boutiques, it offers a pleasant environment for a leisurely stroll or a shopping break between visits to nearby landmarks such as the Town Hall, Saint Trophime, and the Reattu Museum. 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.

As visitors walk along this lively avenue, they experience a constant blend of everyday local life and the artistic atmosphere that Arles is known for. Get guided by the wafting aromas of fresh bread and pastries and you will surely love the main artery of Arles.

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, a 4th-century Roman obelisk that once adorned the ancient circus, rediscovered in the 17th century and erected here in 1676 to celebrate the city’s classical heritage. Around it stand several of Arles’s most remarkable landmarks: the Town Hall, built in the 17th century with a harmonious façade exemplifying Provençal classicism, and the Church of Saint Trophime, a Romanesque masterpiece famed for its sculpted portal depicting the Last Judgment and for being a key stop along the pilgrimage route to Santiago de Compostela.

Republic Square is not only a historic setting but also a vibrant part of daily life in Arles — a gathering place for residents, a venue for open-air markets, and a stage for local festivals beneath the Provençal sun. Visitors can enjoy the lively atmosphere from the surrounding cafés or admire the square as it glows in warm, golden tones. The golden hues of the architecture framing the square contribute to the election of the „Queen of Arles”. Every few years, a young woman is chosen to represent the traditions and customs of the region, all under the applause of crowds gathered in the Republic Square.

The Arles Obelisk stands proudly at the center of Republic Square, serving as one of the city’s most iconic landmarks and a testament to its Roman heritage. 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.

The monument’s reinstallation marked a civic celebration of Arles’s ancient past, at a time when the city sought to reconnect with its classical roots. A gilded sun once crowned the obelisk, reflecting the light of Provence, though it has since been replaced by a bronze globe and later a weather vane. Standing over 20 meters tall, it commands attention amid the harmonious surroundings of Republic Square, flanked by the City Hall and Saint Trophime Church. Interestingly, unlike other Roman monuments, the obelisk lacks inscriptions.

Given it has been recognized as a historic monument since 1840, the obelisk has seen countless dawns and dusks. Yet, watching it shine in the center of the Republic Square remains an experience to be enjoyed. Cherry on top, it is on the UNESCO World Heritage list of Roman and Romanesque monuments since 1981.

The Cloister of Saint Trophime in Arles is one of the finest examples of Romanesque and early Gothic architecture in southern France, offering visitors a peaceful retreat steeped in art and spirituality. 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.

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, while the later southern and western galleries display the pointed arches characteristic of the Gothic style.

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. Despite this distinctive layout, the cloister’s significance has long been recognized: it was designated a historic monument in 1846 and, like the Arles Obelisk, was inscribed on the UNESCO World Heritage list in 1981.

Beyond its artistic beauty, the cloister holds deep historical resonance. It was here that ecclesiastical councils were held and important decisions shaping the city’s spiritual life were made. Today, the site exudes an atmosphere of timeless calm, perfect for its meditative purposes. Go ahead and feel the silence yourself, but everyone has to work for it. Those steps will not climb themselves.

The Cathedral of Saint Trophime in Arles is one of the greatest masterpieces of Romanesque architecture in Provence and a highlight for any visitor to the city. Dedicated to Saint Trophimus, the first bishop of Arles and a key figure in the Christianization of the Gauls, 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 main historical event connected to the Cathedral is the coronation of Holy Roman Emperor Frederick Barbarossa as king of Burgundy in 1178. Back then, it was a strategical move, as the newly crowned king was looking to consolidate his position following a series of defeats to the Lombard League.

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.

Inside, the cathedral’s austere Romanesque nave gives way to Gothic additions made in later centuries, creating a harmonious blend of styles. The church also holds a rich history of ecclesiastical councils, royal visits, and religious ceremonies that reflect Arles’s influence as a spiritual center during the Middle Ages.

For visitors today, Saint Trophime offers more than architectural beauty — it provides a window into the medieval soul of Arles. Customary to Arles's monuments, the Cathedral was listed as a UNESCO World Heritage Site in 1981.

Café Le Soir, holds a special place in art history, particularly due to its association with Vincent van Gogh. The café, currently named "Van Gogh," is situated in the Place du Forum, which has a rich historical significance dating back to the Middle Ages.

The Place du Forum has a dark past, having been the site of capital executions during medieval times. However, it gained artistic renown through van Gogh's iconic 1888 painting, "Café Terrace at Night." The painting depicts the nocturnal terrace of the café, which closely resembles Café Le Soir as it appears today. Interestingly, the café underwent renovations in the 1990s, during which it was repainted yellow to accentuate its resemblance to van Gogh's artwork. This choice aimed to recreate the same ambiance depicted in the painting, as it is likely that the café had a yellow appearance at night due to the lighting conditions of the time.

For those who appreciate art and history, Café Le Soir in Arles offers a unique opportunity to step into van Gogh's world by immersing oneself in the same setting that inspired the artist.

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. Their weathered surfaces contrast with the lively cafés and restaurants that now animate the square, particularly in summer, when terraces spill out beneath the Provençal sun.

Nearby, charming narrow streets lead visitors deeper into the Old Town, emulating the compact street plan established during the Roman period. 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.

Forum Square continues to serve as a social hub — a place where locals meet, visitors pause, and the history of Arles quietly supports the life unfolding above it. Put on your Provence glasses and you might witness the hayday of this lively square.

The Baths of Constantine are a remarkable testament to Roman engineering and everyday life in the ancient city. 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.

Over time, the structure endured damage and alterations, particularly in the Middle Ages when the surrounding area was fortified. Yet its core remained intact, earning recognition as a historic monument as early as the 19th century. Thanks to this resilience, the Baths of Constantine are among the best-preserved Roman baths in France, alongside the renowned Baths of Cluny in Paris.

The Cavalry Gate stands as one of Arles’s most evocative medieval gateways, marking what was once the northern entrance to the old city. Its name links back to the Bourg‑Neuf district-later known as “Cavalry”-where, from as early as the 12th century, the Knights Templar were established nearby. Originally part of Arles’s fortified medieval wall system, the gateway embodied the city's expansion and strategic importance during the Middle Ages.

Constructed in the 13th century, the gate was rebuilt in the 16th century and received further enhancements during the 18th century, including a semicircular defensive bulwark in front. Its two side towers, the most prominent surviving elements, endured damage during the French Revolution and again in 1877. Though the original gate and segments of wall were lost over time, these towers-along with fragmentary sections of the eastern and northern walls-still mark the gateway’s historic presence.

Classified as a Historic Monument since 1928, the Cavalry Gate remains integral to Arles’s cultural heritage. Today, it anchors the revitalization of the Cavalry district-Arles’s historic northern threshold-addressing both preservation and urban renewal efforts.

The Yellow House is an iconic painting created by Vincent van Gogh. Painted in 1888, it depicts the right wing of 2 Place Lamartine in Arles, which served as van Gogh's residence for a period of time.

Van Gogh rented four rooms in the house on May 1, 1888, with the intention of using two large rooms on the ground floor as his workshop and kitchen. On the first floor, he occupied two smaller rooms that faced Place Lamartine. The window on the first floor, closest to the corner, and with both shutters open, belonged to van Gogh's guest room where his fellow artist Paul Gauguin lived for nine weeks starting from late October 1888. The following window, with partially closed shutters, belonged to van Gogh's own bedroom. The two smaller rooms at the back of the house were rented by van Gogh at a later time.

In the painting, van Gogh also indicated a nearby pink building, located on 28 Place Lamartine, which served as the restaurant where he frequently had his meals. This building was owned by Widow Venissac, who was not only van Gogh's landlady but also owned several of the other depicted buildings. To the right of the Yellow House, the Avenue Montmajour can be seen, leading to two railway bridges. Additionally, a ditch running along Avenue Montmajour is depicted, which served as the gas pipe that allowed van Gogh to install gas lighting in his workshop later on.

Although the actual Yellow House suffered heavy damage during World War II and was eventually destroyed, the location depicted in van Gogh's painting remains recognizable. The Yellow House holds immense historical and artistic significance, as it represents a pivotal period in van Gogh's life when he lived and worked alongside Gauguin, and it showcases his unique artistic style and use of vibrant colors.

The Arles Amphitheatre is one of the most impressive Roman monuments in southern France and a powerful symbol of the city’s ancient past. Built around 90 AD during the reign of Emperor Domitian, it was designed as a grand arena for gladiatorial games and public spectacles that entertained the population of Roman Arles, then known as Arelate. With an elliptical shape stretching over 130 meters in length and seating for more than 20,000 spectators, the amphitheatre reflected the city’s status and prosperity within the Roman Empire.

Over the centuries, its role changed significantly. Following the fall of Rome, the amphitheatre was fortified and transformed into a small defensive town complete with homes, shops, and even two chapels built within its walls. By the Middle Ages, more than 200 houses filled the interior, creating a bustling community protected by the original Roman towers. It was only in the 19th century, thanks to the efforts of preservationists including the writer Prosper Mérimée, that the houses were removed and restoration began to reclaim the monument’s ancient form.

Those restauration efforts were not in vain, as the arena still enthralls audiences with bullfighting events, plays and concerts to this day. Moreover, its stairways and upper tiers double as panoramic platforms which allow for prefect views of the city’s rooftops, the Rhône River, and the distant Alpilles hills. Fair enough — its inscription on the UNESCO World Heritage List in 1981 is more than deserved.

The Ancient Theater of Arles stands as 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. The latter still bears traces of an altar dedicated to Apollo — adorned with swans, the emblem of Emperor Augustus — which once occupied its center.

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.

The Arles Market, or Marche d'Arles, is not only renowned as one of the most beautiful markets in Provence but also stands out as one of the largest in the region. Spanning an impressive length of over 2.5 kilometers, this vibrant market offers a wide variety of goods and delights to visitors.

The market takes place on both Wednesdays and Saturdays, each with its own designated location. On Wednesdays, the market stretches along Boulevard Émile-Combes, extending from Place Lamartine to the crossroads of La Croisière. On Saturdays, the bustling market can be found along Boulevards des Lices, Georges-Clemenceau, and Émile-Combes.

With approximately 450 stallholders on Saturdays and 300 on Wednesdays, the Arles Market presents an extensive selection of products to explore. From fresh fruits and vegetables to an assortment of cheeses, flowers, spices, meat, and fish, visitors can find an abundance of fresh produce and regional specialties. Olive oil, Arles sausage, Camargue rice, and tellines are just a few examples of the local delicacies available. Additionally, the market caters to a variety of needs beyond food, offering clothing, shoes, fabrics, crafts, and more.

The significance of the Arles Market can be traced back in history. In a letter dating back to 1584, Henri III confirmed the existence of the two weekly markets in Arles, specifically those held on Wednesdays and Saturdays. Even earlier, a 5th-century author described the market in Arles as a treasure trove of exotic goods. The market has since continued to thrive and evolve, showcasing a rich tradition and providing a vibrant atmosphere for locals and visitors alike.

The Alyscamps, located just outside the old town of Arles, is a Roman necropolis and one of the most renowned burial grounds of the ancient world. Its name, Aliscamps, derived from the Provençal Occitan word, and the Latin Elisii Campi, translates to "Elysian Fields" or, in French, Champs-Élysées. This necropolis held great fame during the Middle Ages and found mention in literary works such as Ariosto's Orlando Furioso and Dante's Inferno.

During Roman times, cities typically prohibited burials within their walls. As a result, roads leading outside the city often featured tombs and mausoleums. The Alyscamps served as Arles' primary burial ground for approximately 1,500 years. Situated along the final stretch of the Aurelian Way, leading to the city gates, it became the resting place for affluent citizens. The memorials within the Alyscamps ranged from simple sarcophagi to elaborate monuments, reflecting the social status of the deceased. This historical significance led to the classification of the Alyscamps as a UNESCO World Heritage Site in 1981, as part of the Arles, Roman, and Romanesque Monuments group.

Vincent van Gogh, the famous Dutch painter, depicted the Alyscamps in four of his paintings during October 1888. This period coincided with Paul Gauguin's stay at the Yellow House in Arles. One of the paintings, titled "Les Alyscamps" or "Leaf Fall," adorned Gauguin's room. In a letter to his brother Theo, Vincent described one of the paintings:

"I think that you'd like the leaf-fall that I've done. It's lilac poplar trunks cut by the frame where the leaves begin. These tree-trunks, like pillars, line an avenue where old Roman tombs colored lilac-blue are lined up to right and left. Now the ground is covered as if by a carpet with a thick layer of orange and yellow leaves - fallen. Some are still falling, like snowflakes. And in the avenue dark figurines of lovers. The top of the painting is a very green meadow and no sky, or almost none."

Van Gogh's paintings capture the essence of the Alyscamps, depicting the rows of poplar trees with their trunks reaching skyward, framed by falling leaves. The lilac-blue Roman tombs line the avenue, while the ground is blanketed in a vibrant carpet of orange and yellow leaves. The presence of dark figurines of lovers evokes a sense of romance and mystery. The top of the painting portrays a lush green meadow, creating a vivid contrast with the absence of the sky.

Espace Van Gogh holds historical significance as the former main hospital of the city. Dating back to the sixteenth century, the building served as Arles' primary medical institution until the twentieth century. However, its fame is largely associated with the time Vincent van Gogh spent here after the infamous incident of cutting off his left earlobe in December 1888.

The courtyard of Espace Van Gogh has been meticulously landscaped to resemble van Gogh's renowned painting, "The Courtyard of the Hospital." This artistic recreation adds to the allure of the site, providing visitors with a visual connection to van Gogh's artistic interpretation.

On 23 December 1888, Vincent van Gogh was admitted to the hospital in Arles following the episode of self-mutilation. Recognizing the need for specialized psychiatric care, Dr. Rey advocated for Vincent's transfer to an asylum in Marseille or Aix-en-Provence. The hospital in Arles primarily treated his physical injuries and was ill-equipped to address his mental health issues. However, in a surprising turn of events, Vincent's condition improved significantly in early January 1889, and he was allowed to return home for short periods of time. Feeling better, he resumed his passion for painting, creating artworks such as a portrait of Dr. Rey, which he presented as a memento to the doctor.

Unfortunately, Vincent suffered another bout of mental instability within a month, firmly believing he had been poisoned. He was readmitted to the hospital on 7 February and placed in isolation once again. Vincent remained in the hospital until early May, experiencing periods of lucidity that allowed him to paint outdoors. These artistic endeavors resulted in numerous landscapes and notable works such as "Ward in the Hospital" and "The Courtyard of the Hospital." On occasion, Vincent was granted permission to venture into town, particularly when his friend Paul Signac came to visit.

Today, the complex has been repurposed and houses the town library, exhibition spaces, souvenir shops, and a café. It offers a multifaceted experience where visitors can explore the rich history of the building while immersing themselves in various cultural activities.