Rue de la Republique is a vibrant and historic street located in Arles. Serving as the city's main thoroughfare, Rue de la Republique is the beating heart of Arles, filled with a variety of shops, cafes, restaurants, and historic sites.

The street, rich with architectural charm, embodies the diverse cultural influences that have shaped Arles over centuries. Here, you can find well-preserved examples of Roman and Romanesque architecture juxtaposed with more modern styles, reflecting the city's evolution through time.

As you stroll along Rue de la Republique, you'll be immersed in the lively atmosphere characteristic of French city life. Cafes spill out onto the pavements, boutiques showcase unique local crafts and high-end fashion, and the aromas of fresh bread and pastries waft from boulangeries.

Rue de la Republique also provides easy access to several notable landmarks in Arles, including the Arles Amphitheatre and the Ancient Theatre of Arles, both testament to the city's rich Roman history.

Whether you're looking to sample regional cuisine, enjoy a leisurely coffee while people-watching, explore historic sites, or shop for local goods, Rue de la Republique in Arles offers a captivating and quintessentially French experience.

Republic Square, or Place de la République, holds a significant place in the heart of Arles. The square has undergone various architectural and urban transformations throughout history, resulting in its unique and diverse character.

Situated south of the ancient Roman forum, the square was originally a narrow forecourt wedged between the Saint-Trophime church and the Sainte-Anne church during the Middle Ages. However, with the construction of the town hall in the 17th century, the square underwent a profound modification, expanding its surface area and transforming its overall appearance.

Over time, Republic Square has been adorned with monuments of different styles and functions, creating an original ensemble that resembles an Italian square. Its vast space provides a gathering place for important traditional events, such as the triennial election of the "Queen of Arles," attracting public participation and adding vibrancy to the square.

The square serves as a captivating anthology of art history, showcasing a remarkable architectural diversity. Antiquity is prominently represented by the obelisk from the Roman circus, serving as a testament to Arles' rich Roman heritage. The facade of the Saint-Trophime church, dating back to the 12th century, boasts a magnificent historiated portal that was added for the coronation of Emperor Frédéric Barberousse in 1178.

The clock tower, adorned with antique decorations, showcases the refined architecture of the Provençal Renaissance. Despite the construction of the town hall, the clock tower was intentionally preserved by town councilors, highlighting the classical style of the period.

Another significant structure within the square is the Sainte-Anne church, constructed between 1614 and 1630. The church's nave retains clear elements of southern Gothic architecture, offering a glimpse into the artistic heritage of the region. Additionally, the archdiocese underwent redevelopment in the 17th century, while its current facade was rebuilt in the late 18th century, adding another layer to the square's architectural diversity.

The Arles Obelisk is a remarkable ancient monolith located in Arles. This anepigraphic obelisk, meaning it lacks inscriptions, is of Roman origin and holds historical and cultural significance.

The obelisk has been recognized as a historic monument since 1840 and is included in the UNESCO World Heritage list of Roman and Romanesque monuments of Arles since 1981. Standing at approximately 20 meters in height, including its base, this slender obelisk is distinct from other obelisks of the Roman period or earlier.

Unlike traditional Egyptian obelisks, the Arles Obelisk is not made of Egyptian granite. Instead, it is crafted from red granite, suggesting an origin from Asia Minor, particularly the region of Troad, which encompasses the ancient city of Troy. Interestingly, the obelisk is devoid of any inscriptions, including Roman ones.

The obelisk was originally erected during the reign of Emperor Constantine in the 4th century. It stood in the center of the spina, the central barrier, within the Roman circus of Arles, which was a venue for chariot races and other public spectacles. However, as the circus fell into disuse during the 6th century, the obelisk either collapsed or was deliberately brought down, resulting in it breaking into two parts.

In 1389, the obelisk was rediscovered and showcased to distinguished guests. At one point, King Henri IV contemplated placing it in the center of the amphitheater, known as the Arènes d'Arles. However, this plan did not materialize.

In the 19th century, the base of the obelisk underwent decorative enhancements. A basin and bronze lions were added to the base, which were designed by the sculptor Antoine Laurent Dantan. These additions contribute to the aesthetic appeal and historical significance of the obelisk, further emphasizing its cultural value.

The Saint Trophime Cloister is an architectural gem located in the old cathedral of Arles. Dating back to the 12th and 14th centuries, this cloister showcases remarkable craftsmanship and holds immense historical and artistic significance.

One notable feature of the Saint Trophime Cloister is its unconventional location. Unlike most cloisters that are attached to the nave or transept of a cathedral, this cloister is connected to the choir through a staircase consisting of twenty-five steps.

The construction of the cloister commenced around 1150 with the building of the north gallery, followed shortly by the east gallery. However, it wasn't until the end of the 14th century, under the episcopate of Jean de Rochechouart (1390-1398), that the cloister was fully completed. The western gallery and then the southern gallery were constructed during this period. As a result, the cloister exhibits two distinct architectural styles for its galleries. The north and east galleries feature Romanesque elements, while the west and south galleries embody Gothic influences.

The Saint Trophime Cloister exemplifies a quest for visual perfection, characterized by a harmonious balance of volumes and exquisite sculpted decorations. Its architectural design and meticulous craftsmanship highlight the skilled work of the artisans involved in its creation.

Recognized as a historical monument since 1846, the Saint Trophime Cloister has received significant acclaim. It has been listed as a UNESCO World Heritage Site as part of the Roman and Romanesque monuments of Arles since 1981. This prestigious status underscores its exceptional cultural value and its contribution to the architectural heritage of the region.

Saint Trophime Cathedral is a significant Roman Catholic church located in the city of Arles. Constructed between the 12th and 15th centuries, the cathedral exemplifies the Romanesque architectural style and holds great cultural and historical importance. Its sculptures, particularly the Last Judgement on the church's portal, and the columns in the adjacent cloister, are revered as some of the finest examples of Romanesque sculpture.

The site of the Cathédrale Saint-Trophime was originally occupied by a 5th-century basilica dedicated to Saint Stephen. The construction of the current church took place upon the foundations of this earlier basilica. The cathedral's Romanesque nave was built during the 12th century, while a Gothic choir was added in the 15th century. This combination of architectural styles adds depth and richness to the overall structure.

One of the highlights of the Cathédrale Saint-Trophime is the intricate sculptural work that adorns its portal. The Last Judgement, depicted in remarkable detail, is particularly noteworthy. The sculptures are a testament to the skill and artistry of the craftsmen of the time and provide valuable insights into the religious beliefs and cultural context of the era.

Adjacent to the cathedral is the cloister, which features magnificent columns and further showcases the mastery of Romanesque sculpture. The combination of architectural elements and sculptural embellishments creates a harmonious and awe-inspiring atmosphere.

In recognition of its historical and architectural significance, the Cathédrale Saint-Trophime, along with other medieval and Roman buildings in Arles, was designated as a UNESCO World Heritage Site in 1981 as part of the Arles, Roman and Romanesque Monuments group. This prestigious status highlights its contribution to the rich heritage of the region.

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, "Terrasse du café le soir (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, visitors can gain a deeper understanding of his work and the vibrant cultural heritage of the city.

Forum Square holds significant historical and artistic importance. As with many Roman cities, the square served as the bustling city center. Originally, it spanned a large portion of Arles, stretching from the present-day Boulevard des Lices to the north and extending towards the river.

One of the main reasons why Forum Square is well-known is due to Vincent van Gogh's famous painting titled "Cafe Terrace at Night." Executed in mid-September 1888, this oil painting depicts a vibrant scene of a café terrace on Forum Square. Today the cafe is called Cafe Van Gogh and is painted in yellow, just as one would see in the painting. Although the painting is not signed, van Gogh described and mentioned it in his letters on multiple occasions. In addition, a pen drawing of the composition exists in the artist's estate.

Today, visitors can stand in the same spot Van Gogh once stood when painting the charming café on Forum Square. The square continues to be a hub of activity, offering a lively atmosphere day and night. Tourists can indulge in the vibrant animations, soak in the ambiance of the square, and experience the timeless beauty that attracted van Gogh to capture this scene on canvas.

Forum Square serves as a testament to the historical significance of Arles as a Roman city, and it holds a special place in the art world as the subject of one of van Gogh's most renowned works. The combination of its rich historical background and its association with famous art draws visitors from around the world, providing them with an opportunity to immerse themselves in the cultural tapestry of Arles.

The Baths of Constantine or Thermes du Nord, are ancient Roman baths located on the banks of the Rhône River in Arles. These baths were constructed in the early 4th century during the reign of Emperor Constantine when he resided in Arelate (Arles). In the Middle Ages, they became known as the "Palais de la Trouille," leading to a misconception that they were the ruins of a palace built by Emperor Constantine himself.

Designated as historical monuments in 1840, the remains of the thermal baths include the Roman wall and adjacent cellars, which were classified in 1922. The city of Arles purchased the monument and undertook extensive renovations between 1980 and 1995 to restore and preserve its architectural heritage.

The Thermes de Constantin in Arles are among the best-preserved Roman baths in France, comparable to the Thermes de Chassenon in Charente and the Thermes de Cluny in Paris. The baths underwent partial excavation and clearance work during the 19th century.

The visible remains of the baths today mainly consist of the caldarium, which housed the hot-water bathing area. The caldarium features suspended heating floors (hypocaust) with three pools, two of which are rectangular in shape. The third pool, distinguished by a semi-circular apse and adorned with three windows, is covered by a half-oven vault. The caldarium is connected to the laconicum, a dry sauna, and the tepidarium, a warm bath. The tepidarium is concluded on the western end by a semi-circular apse.

Exploring the Thermes de Constantin offers visitors a remarkable glimpse into the bathing practices and architectural splendor of the Roman era. The meticulous preservation and restoration efforts undertaken by the city of Arles ensure that these ancient baths continue to captivate and educate visitors about the rich history of the region.

The Porte de la Cavalerie (Cavalry Gate) is a gate of the old ramparts in the Bouches-du-Rhône.

This gate of the old ramparts of Arles owes its name to the district it served, since the Middle Ages, to the east of the city: the Bourg-neuf district, initially owned by the Baux family, where the knights were settled. of the Temple.

The Cavalry Gate dates from the 13th century. It was rebuilt in the 16th century and then rehabilitated in the 18th century.

Its two side round towers were partially damaged during the French Revolution, and in 18771. It has been classified as a historical monument since February 2, 1928.

The Yellow House, or "Het gele huis" in Dutch, is an iconic painting created by Vincent van Gogh. Painted in 1888, it depicts the right wing of 2 Place Lamartine in Arles, France, 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 a remarkable Roman amphitheatre located in the picturesque town of Arles This magnificent structure, built in 90 AD, stands as a testament to the grandeur and legacy of Ancient Rome. With its impressive architecture and historical significance, the Arles Amphitheatre has become one of the most prominent tourist attractions in the city.

The amphitheatre is a two-tiered structure that could accommodate more than 20,000 spectators during its prime. It served as a venue for various events, including chariot races and brutal hand-to-hand battles that enthralled the ancient crowds. The sheer scale of the amphitheatre and its ability to host such grand spectacles speaks volumes about the cultural and social significance of the city of Arles during the Roman era.

While the Arles Amphitheatre's origins lie in the Roman period, it underwent modifications in the medieval era. The towers that protrude from the top of the structure are notable medieval additions. These towers, though not original to the Roman construction, add a unique character to the amphitheatre, blending Roman and medieval architectural elements.

In recent times, the amphitheatre continues to captivate visitors with its historical charm. While it no longer hosts large-scale events like chariot races, the Arles Amphitheatre remains an active venue for cultural performances. It has become a popular site for bullfighting during the Feria d'Arles, a traditional festival held annually. Additionally, during the summer months, the amphitheatre provides a remarkable backdrop for plays, concerts, and other artistic events, attracting both locals and tourists alike.

Recognizing its outstanding cultural value, the Arles Amphitheatre was designated as a UNESCO World Heritage Site in 1981. It was included as part of the "Arles, Roman, and Romanesque Monuments" group, which encompasses a collection of Roman and medieval buildings in the city. This prestigious recognition further solidifies the significance of the amphitheatre and highlights its importance in preserving and promoting world history and heritage.

The Ancient Theater of Arles, is a remarkable historical site located in Arles, France. Constructed at the end of the 1st century BC during the reign of Emperor Augustus, this theater stands as one of the earliest stone theaters in the Roman world. Its construction began around 40/30 BC and was completed around 12 BC, shortly after the establishment of the Roman colony in Arles.

The Ancient Theater of Arles is strategically positioned along the decumanus, a major east-west road in the Roman city grid. Its location reflects the meticulous urban planning characteristic of Roman settlements. This ancient theater holds great historical significance and has been recognized as a historical monument since 1840.

Today, visitors have the opportunity to explore and appreciate this extraordinary monument. Although only one bay of the original elevation supporting the cavea, the seating area, remains intact, it is a testament to the theater's grandeur. This surviving section was incorporated into the medieval city rampart, where it was transformed into a defensive tower. The orchestra, the circular area in front of the stage, still bears the trace of the sealing of the altar dedicated to Apollo, adorned with swans, which was an emblem of Emperor Augustus.

One of the most intriguing features of the Theatre Antique d'Arles is the presence of two columns known as "the two widows." These columns, out of the hundred that once adorned the stage wall, stand alone, evoking a sense of mystery and wonder.

In addition to its historical significance, the theater serves as a venue for various cultural events and performances. From the end of June to the end of August, it hosts the Arles and Costume Festivals, the International Photography Meetings, the Les Suds festival, the Cargo Stopovers festival, and the Peplum Film Festival. These events bring the theater to life, showcasing its versatility and continuing its legacy as a gathering place for artistic expression.

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 significant 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, "Le Jardin de l'Hôtel de Dieu." 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.Espace Van Gogh stands as a testament to the turbulent period Vincent van Gogh endured in Arles. It offers visitors a glimpse into the artist's challenging mental state, his resilience, and his continued dedication to his craft even during his most challenging moments.