15 Best Sights in Montmartre, Paris

Built between 1136 and 1286, St-Denis Basilica is one of the most important Gothic churches in France. It was here, under dynamic prelate Abbé Suger, that Gothic architecture (typified by pointed arches and rib vaults) was said to have made its first appearance. The kings of France soon chose St-Denis as their final resting place, and their richly sculpted tombs—along with what remains of Suger's church—can be seen in the choir area at the east end. The basilica was battered during the Revolution; afterward, however, Louis XVIII reestablished it as the royal burial site by moving the remains of Louis XVI and Marie-Antoinette here to join centuries' worth of monarchical bones. The vast 13th-century nave is a brilliant example of structural logic; its columns, capitals, and vault are a model of architectural harmony. The facade, retaining the rounded arches of the Romanesque that preceded the Gothic period, is set off by a small rose window, reputedly the oldest in France. Check out the extensive archaeological finds, such as a Merovingian queen's grave goods. Occasional guided tours in English are offered (see website for exact times); if you'd rather explore on your own, audioguides are available for €3, as is a free English-language information leaflet.

The birthplace of Cubism isn't open to the public, but a display in the front window details this unimposing spot's rich history. Montmartre poet Max Jacob coined the name because the original structure here reminded him of the laundry boats that used to float in the Seine, and he joked that the warren of paint-splattered artists' studios needed a good hosing down (wishful thinking, because the building had only one water tap). It was in the Bateau-Lavoir that, early in the 20th century, Pablo Picasso, Georges Braque, and Juan Gris made their first bold stabs at Cubism, and Picasso painted the groundbreaking Les Demoiselles d'Avignon in 1906–07. The experimental works of the artists weren't met with open arms, even in liberal Montmartre. All but the facade was rebuilt after a fire in 1970. Like the original building, though, the current incarnation houses artists and their studios.

This unassuming square is a perfect place to take in two of Montmartre's most photographed sights: the pink-and-green Au Lapin Agile cabaret and Clos Montmartre, Paris's only working vineyard. The former, famously painted by Camille Pissarro, still welcomes revelers after more than 160 years; the latter can be visited via guided tours (€39, in French and includes a wine tasting), organized by the nearby Musée de Montmartre (admission included), and during the annual Fête de Jardins (Garden Festival) weekend in September. The stone wall on the northwestern edge of the square borders the peaceful Cimetière St-Vincent, one of the neighborhood's three atmospheric cemeteries.

Overshadowed by better-known Père-Lachaise, this cemetery is just as picturesque. It's the final resting place of a host of luminaries, including painters Degas and Fragonard; Adolphe Sax, inventor of the saxophone; dancer Vaslav Nijinsky; filmmaker François Truffaut; and composers Hector Berlioz and Jacques Offenbach. The Art Nouveau tomb of novelist Émile Zola (1840–1902) lords over a lawn near the entrance—though Zola's remains were moved to the Panthéon in 1908.

One of several museums dedicated to the Surrealist master, this exhibition space's permanent collection includes about 300 works, mostly etchings and lithographs. Among the two-dozen sculptures are versions of Dalí's melting bronze clock and variations on the Venus de Milo. Since he was a multimedia pioneer ahead of his time, there are videos with Dalí's voice, and temporary exhibits have included the mustachioed man's foray into holograms. There's plenty of information in English, and audio guides (meant more for children) can be rented for €3.

The elegant iron-and-glass, 19th-century market hall at the foot of Sacré-Coeur stages dynamic exhibitions of art brut, "raw" or outsider and folk art. The international artists featured are contemporary in style and outside the mainstream. There's also a good bookstore and a café serving light, well-prepared dishes, such as savory tarts and quiches with salad on the side, plus homemade desserts.

This self-described "fabric kingdom" has been selling Parisians their curtains for more than 90 years. With five floors, it actually stocks a lot more than draperies, including bolts of fine silk, feather boas, and spangled cushions. Among the regulars here are the designers who create the famous windows at Hermès. The Marché anchors a fabric district that extends to the neighboring streets; each shop is a bit different from the next.

Of the 14 windmills (moulins) that used to sit atop this hill, only two remain. They're known collectively as Moulin de la Galette, a name taken from the bread the owners once produced. The more storied of the two is Le Blute-Fin: in the late 1800s there was a dance hall on the site, famously captured by Renoir (you can see the painting in the Musée d'Orsay). A facelift restored the windmill to its 19th-century glory; however, it is on private land and can't be visited. Down the street is the other moulin, Le Radet.

A visit to the charming Museum of Romantic Life, dedicated to novelist George Sand (1804–76), will transport you to the countryside. Occupying a pretty 1830s mansion in a tree-lined courtyard, the small permanent collection features drawings by Delacroix and Ingres, among others, though Sand is the undisputed star. Displays include glass cases stuffed with her jewelry and even a mold of the hand of composer Frédéric Chopin—one of her many lovers. The museum, about a five-minute walk from the Musée National Gustave Moreau, is in a picturesque neighborhood once called New Athens, a reflection of the architectural tastes of the writers and artists who lived and worked in the area. There is usually an interesting temporary exhibit here, too. The garden café (open mid-March to mid-October) is a lovely spot for lunch or afternoon tea. Just note that the museum is currently closed for renovations until March 2026.

During its turn-of-the-20th-century heyday, this building—now home to Montmartre's historical museum—was occupied by painters, writers, and cabaret artists. Foremost among them was Pierre-Auguste Renoir, who painted Le Moulin de la Galette (an archetypal scene of sun-drenched revelers) while living here. Recapping the area's colorful past, the museum has a charming permanent collection, which includes many Toulouse-Lautrec posters and original Eric Satie scores. An ambitious renovation, completed in 2014, doubled its space by incorporating both the studio apartment once shared by mother-and-son duo Suzanne Valadon and Maurice Utrillo (now fully restored) and the adjoining Demarne Hotel (which has been redesigned to house temporary exhibitions). The lovely surrounding gardens—named in honor of Renoir—have also been revitalized. An audioguide is included in the ticket price.

This triangular square is typical of the countrified style that has made Montmartre famous. Now a hub for shopping and people-watching, the place is surrounded by hip boutiques, sidewalk cafés, and shabby-chic restaurants—a prime habitat for the young, neo-bohemian crowd and a sprinkling of expats. Trendy streets like Rue Houdon and Rue des Martyrs have attracted small designer shops, trendy secondhand clothing stores, and even a pâtisserie specializing in meringues. Many retailers remain open on Sunday afternoon.

Artists have peddled their wares in this square for centuries. Busloads of tourists have changed the atmosphere, but if you come off-season—when the air is chilly and the streets are bare—you can almost feel what it was like when up-and-coming Picassos lived in the houses that today are given over to souvenir shops and cafés.

This eye-catching church with a compact Art Nouveau interior was the first modern house of worship built in Paris (1897–1904) and the first to be constructed of reinforced cement. Architect Anatole de Baudot's revolutionary technique defied the accepted rules at the time with its use of unsupported masonry; critics, who failed to stop construction, feared the building would crumble under its own weight. Today the church attracts a steady flow of visitors curious about its unusual Moorish-inspired facade of redbrick and curved arches. Note the tiny clock at the top left of the bell tower and the handsome stained-glass windows. Free concerts and art exhibitions are staged in the church from time to time.

Tucked in the shadow of mighty Sacré-Coeur is one of the oldest churches in Paris. Built in 1147 on the site of a 5th-century temple to the god Mars, this small sanctuary with its impressive sculpted metal doors was once part of a substantial Benedictine abbey. Besides the church, all that remains is a small cemetery, now closed (you can see it through the ornate metal door on the left as you enter the courtyard). Renovated multiple times through the ages, Saint-Pierre combines various styles. Interior elements, such as the columns in the nave, are medieval; the facade dates to the 18th century, with renovations in the 19th century; and the stained-glass windows are 20th century. Maurice Utrillo's 1914 painting of the titular saint hangs in the Musée de l'Orangerie. Admission is free; English audioguides are €3.

This little movie house has a distinguished history. When it opened in 1928, it was the first theater in the world purposely built for art et essai, or experimental film, and Luis Buñuel and Salvador Dalí's L'Age d'Or caused a riot when it premiered here. Through the years artists and writers came to see "seventh art" creations by directors such as Jean Cocteau, François Truffaut, and Orson Welles. Today it's a repertory cinema, showing first-runs, just-runs, and previews—usually in their original language. Movies are screened beginning at 2 pm daily, and tickets cost €11. In the back of the movie house is a cozy bar and café that has a quiet outdoor terrace decorated with murals of film stars. Oh, and those charmingly bizarre chandeliers in the salle? Cocteau designed them.