In September 1939, when France declared war on Germany, the Camp des Milles interned so-called “enemy subjects,” largely meaning citizens of Germany and Austria living in France, in more than 240 camps around the country, including a former tile factory in the village of Les Milles. By the following June Les Milles was known as the camp of artist due to some 3500 artists and intellectuals being detained there. Among them was Lion Feuchtwanger, a Jewish German writer.

Born in Munich in 1884, the son of a Jewish factory owner, Feuchtwanger became a well-known writer who tried to warn the world about the dangers of Hitler and the Nazi party. As early as the 1920s he predicted many of the Nazis’ crimes in his book “Conversations with the Wandering Jew.” His book “Jud Süß” (Süss the Jew) would be distorted by the Nazis, who turned it into an anti-Semitic feature film. Heinrich Himmler had it shown to SS units and Einsatzgruppen paramilitary death squads about to be sent east on their murderous assignments.

When Hitler rose to power in 1933, Feuchtwanger was on a book tour in the United States. There he met with President Franklin D. Roosevelt and First Lady Eleanor Roosevelt. While in the U.S. he learned of the confiscation of his properties in Germany and the burning of his books. The German Ambassador to the U.S. advised Feuchtwanger not to return to his homeland. He took his advice but returned to Europe. Lion Feuchtwanger and his wife Marta settled down with other German exiles in the seaside town of Sanary-sur-Mer, between Bandol and Toulon in southern France.

“We were in paradise, against our will,” he wrote. Although his books were banned from publication in Germany, the high circulations of translations enabled Feuchtwanger to have a comparatively comfortable life in exile until the outbreak of the war.

It was then, in September 1939, that Feuchtwanger, like other Germans and Austrians living in exile in France, was first interned at the Camps des Milles. Remarking on the irony of the internment of what were essentially anti-Nazi refugees, he wrote: “the responsible authorities know perfectly well that the spies, the saboteurs, the Nazi sympathizers were to be sought quite elsewhere than among us.” Recognizing this, the authorities released Feuchtwanger after several weeks.

The Devil in France

But the war situation and the attitude of the French government changed in early 1940 Feuchtwanger was arrested and interned there a second time. In his memoir “The Devil in France” he speaks of the deplorable conditions of that internment.

Republished in English by USC (University of Southern California) Libraries in 2010, The Devil in France (subtitled “My Encounter with Him in the Summer of 1940”) provides an intimate account of Feuchtwanger’s thoughts, snippets of his conversations and details of his survival tactics. Although Les Milles was not a work camp, Feuchtwanger recalled how, “under the sharp command of a sergeant,” he and his fellow inmates were forced to make neatly stacked piles of bricks. The bricks would later be torn down and piled up in another place. It made him think of the verse from Exodus “in which,” he wrote, “the children of Israel are forced to bake bricks for Pharaoh of Egypt to build the treasure cities of Pithom and Raamses.” So he chanted “Pithom Raamses… Pithom–Raamses” as he mechanically tossed bricks to his neighbor.

In the memoir he tells about the tiles, the bricks, the cramped spaces, making his bed directly on the floor out of straw, setting it off with more bricks, breathing in dust until his lungs bled and dust even in their inadequate food, the boredom, the lack of privacy. When not lifting bricks, the inmates spent much of their days in the dimly lit dormitories.

In the morning, he wrote, there were long lines to go outside to a handful of filthy latrines that were controlled by Foreign Legion detainees, some of whom had fought for France for decades and were maimed. One could tip the Legionnaires to get moved up to the front of the line. The Legionnaires also ran much of the camp’s black market.

The inmates organized cultural activities in their fight against boredom and dehumanization. Feuchtwanger eloquently describes a cabaret club set up in the brick oven area of the camp, where they could mobilize their creativity and artistic talents. They called it the Catacomb, after a Berlin nightclub closed by Goebbels in the mid-1930s.

Feuchtwanger lived to write about his experiences because he managed to escape at the end of the summer of 1940, before the French began participating in the delivery of Jews to Nazi death camps. His wife Marta orchestrated his escape. At that time, he, along with other prisoners of Les Milles, had been moved to a makeshift tent camp near Nîmes. The prisoners were allowed to bathe every afternoon at a small river in the middle of the afternoon. This proved to be the perfect time of day to engineer an escape and smuggle him out disguised as an English woman and take him to Marseille.

There, Marta was assisted by the American vice consul in Marseille, Hiram Bingham IV, who was known for liberally issuing visas to help refugees, in defiance of State Department policy. Bingham arranged to have a picture of a grim and gaunt Feuchtwanger behind the barbed wires of the Milles Camp sent to America. Feuchtwanger’s publisher, Ben Huebsch of Viking Press, had friends show the picture to Eleanor Roosevelt, who made the president aware of the situation. An emergency visa was then issued, unofficially, in view of the American policy of neutrality during that period. Feuchtwanger was therefore added to a list of prominent artists and intellectuals, most wanted by Hitler and therefore in great jeopardy, to be rescued by the American Emergency Rescue Operations run by the American journalist Varian Fry.

From Marseille he undertook a dangerous journey through Spain and Portugal. Realizing that even in Portugal any delay to get on a boat to the United States could be fatal for a man wanted by the Nazis, Martha Sharp, a Unitarian minister’s wife, gave up her own berth on the Excalibur so that Feuchtwanger could sail immediately for New York City. His wife Marta obtained passage two weeks later.

Feuchtwanger was living in California and had published his memoir of his internment by the time Camp des Milles experienced its darkest days. In the summer of 1942, some 2,000 Jewish men, women and children rounded up in the southern France were interned at the Camp des Milles before deportation to Auschwitz, where they were exterminated. While the Germans never asked that children be deported, French minister Pierre Laval insisted that they be deported as well. At Les Milles this is given its full impact by the Serge Klarsfeld exhibition that commemorates the 11,400 Jewish children deported from the whole of France to Auschwitz between 1942 and 1944.

Feuchtwanger died in Los Angeles in 1958. After his death, his wife Marta willed their house Villa Aurora and his extensive personal library to the University of Southern California. Villa Aurora, a historic landmark, is now an artist residence.

Visiting the Camp des Milles

On September 10, 2012, exactly seventy years after the last train convoy left from Les Milles for the Auschwitz death camp, the Memorial-Site of the Camp des Milles was opened to the public. In 2015 UNESCO launched its new Chair for Education for Citizenship, Human Sciences and Shared Memories there. The Chair focuses on research and activism centered on the history of the Holocaust, citizenship and the prevention of genocide.

The historical section: A visit to the Memorial-Site of the Camp des Milles begins with a rich and compelling collection of displays, audiovisual pieces and illustrations in French and English dedicated to understanding the historical background to the threats that escalated across Europe between 1919 and 1939, to the individual destinies of those interned and to the history of France’s Vichy government. Displays document the general history of internment camps in France under the country’s Third Republic (i.e. prior to the summer of 1940) and under the Vichy regime. It recounts in detail the history of the Milles Camps where some 10,000 people of 38 nationalities were interned during the war. It also focuses on the perpetration of the Jewish genocide on a European scale and its implementation in Les Milles.

The remembrance section: The visit continues with the remembrance area, which includes the internment quarters of what had been a tile-making factory and the makeshift cabaret as described in Feuchtwanger’s memoir. Some of the artwork created by interned artists remains visible on the walls. In this section, the guide points out the windows from which women were willing to jump rather than suffer deportation and also indicates the places where some fortunate individuals managed to hide and survive.

The reflexive section: Based on a scientific analysis of the Holocaust, the Armenian genocide and the Tutsi genocide, this this third section provides an understanding of the mechanisms that can lead a democracy (both the system and the gathering of individuals within that system) towards a genocide and the capacity of individuals to resist. It also explores the human behavior mechanisms operating through racism, antisemitism and xenophobia.

The Wall of Righteous Acts concludes the visit to the Camp des Milles by showing the many different ways ordinary people can carry out acts of resistance in the context of genocide through examples of the past century.

Today young people remain an important target group for the memorial-site. Alain Chouraqui, president of The Milles Camp Foundation, has written that it is “not for the visitors, especially the young, to leave overwhelmed by the darkness of the persecutions, but rather that they become aware of vigilance and resistance.”

Practical information

Camp des Milles, 40 chemin de la Badesse, 13517 Aix-en-Provence. Tel. 04 42 39 17 11. Open 10am-7pm (no tickets sold after 6pm) daily except Jan. 1, May 1, Dec. 24, 25, 31. The memorial-site suggests counting on 2½ hours for a complete visit. Audio guides are available in English. For information about guided tours in English contact the camp directly. It can be cold in the internment quarters in winter – dress warmly.

The Devil in France: My Encounter with Him in the Summer of 1940 by Lion Feuchtwanger can be downloaded free of charge from the USC Libraries website. Further information about the writer and his life as an émigré in the United States can be found here.

Aix-en-Provence Tourist Office, 300 avenue Giuseppe Verdi, 13100 Aix-en-Provence.

Bus service (line 4) from the Rotonde near the Aix-en-Provence Tourist Office goes to the camp, whose station is called Gare des Milles.

© 2017

Wendy Dubreuil is a conference interpreter with a deep interest in human rights and discrimination issues.

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As the daylight dims and the cool air blows, travelers in France from late November to early January—and beyond in some areas—will find a bright and warm mix of regional, national, commercial and religious traditions throughout the holiday season.

Christmas Eve, rather than Christmas Day, is the privileged family time in France for presents and an abundant dinner, followed for some (relatively few) by midnight mass in some of the country’s magnificent medieval churches and cathedrals. There are then generally leftovers of fine food and drink and, hopefully, family spirit, too, to enjoy on December 25th.

Let’s take a tour of the Christmas season in France through Alsace, Champagne, Lille, Lyon, Provence, Nice and Paris.

(The dates in this article are for the holiday markets and events of 2014 however these are all annual happenings that take place about the same time, give or take a day or two.)

Alsace

One of the most recognizable features of the Christmas season is the Christmas market, rows of chalets (wooden or make-shift shopping huts) set up as early as mid-November in public squares and along major streets to sell folklore, craftsmanship, much food and drink, and Christmas or gift knick-knacks of all kinds.

The tradition of Christmas markets likely originated along the Rhine, leading Strasbourg, which dates the origin of its market to 1570, to call itself “Capital of Christmas.” While otherwise known as capital of Alsace and seat of the European Parliament, Strasbourg pulls out all the stops when it comes to the holiday season.

The most animated of Strasbourg’s Christmas markets surrounds its Notre-Dame Cathedral, whose tremendous steeple dominates the cityscape.

Head due south from Strasbourg and you enter Alsace’s wine route whose bare vines contrast in December with the cheery main streets of picturesque villages, such as Riquewihr and Kaysersberg, that ward off the frost with the warmth of Christmas decorations, mulled wine, gingerbread, small biscuits called bredele and a Bundt-type cake called kouglhof (spelling varies).

Eventually one reaches Colmar, another hotspot for Christmas markets, and beyond that Mulhouse. Mulhouse, a major player in the European textile industry from the mid-18th to the early 20th centuries, produces each year a new Christmas fabric (this year an adaptation of a late-19th-century motif) that decorates the city and is translated into various derivative products.

For more specifics visit the official tourist information sites of Alsace, Strasbourg, Colmar and Mulhouse.

Champagne

Champagne may call to mind the celebration of New Year’s Eve more than Christmas, but Reims, the largest city in the region and home to some of the world’s most elegant champagne houses (i.e. producers) also unfurls an extensive Christmas market along Place Douet d’Erlon, center-city’s main pedestrian drag, and neighboring streets.

The official tourist information site of the city of Reims is found here.

Lille

Lille isn’t quite the North Pole but it’s about as close as one gets while still in France. Never one to miss out on a good party (accompanied by beer rather than wine), Lille gets into the seasonal spirit at its two central square: Place Rihour, which is transformed into an 80-chalet village from Nov. 19 to Dec. 30, and Grand’Place , where a 59-foot pine stands along with a Ferris wheel offering a view over the city. The market fills the square from Nov. 19 to Dec. 30. See Lille’s official Christmas market site here.

Lyon

Lyon’s dazzling Festival of Lights (Fête des Lumières) isn’t directly related to Christmas but nothing announces the winter holiday season better than long nights brightly lit. From December 5 to 8, France’s third largest city is lit by more than 70 different major creative light installations, a brilliant event that draws the oohs and ahhs of 4 million visitors.

For more about Lyon’s Festival of Lights see here.

Provence

North Americans sometimes have trouble associating Christmas with warmer climes since our own Christmas decorative and culinary traditions are rather Alsatian-Germanic in nature. But the nativity story takes place in a bald Mediterranean landscape whose white stone hills have more in common with Provence. In fact, some of world’s must ancient Christian traditions developed in Provence.

While Americans fully enter the Christmas season the day after Thanksgiving, Provence tradition would have it last from the Feast Day of Saint Barbara (Sainte Barb) on Dec. 4 to Candlemas (Chandeleur) on Feb. 2. According to legend, if one plants a plate of wheat at home on Dec. 4 and if by Dec: 25 it grows to a healthy green tuft then abundance will follow in the next harvest. As to Feb. 2, a date Americans are more likely to think of this as Groundhog Day, that’s Candlemas on the Catholic calendar, commemorating the purification of Mary after childbirth and the presentation of Jesus in the Temple. That’s the date when crèches are taken down.

Where better to consider Christmas in Provence than in Avignon, the town that the Catholic Popes called home during through most of the 14th century, when they temporarily abandoned squabble-ridden Rome. One of southern France’s most expansive Christmas markets takes place (this year Nov. 30-Jan. 4) on Avignon’s main square, Place de l’Horloge, around the corner from the Popes’ Palace, the town’s major tourist attraction. Among the many manger scenes set up around town, one of the most outstanding typically occupies a portion of the lobby in City Hill, which is also on Place de l’Horloge.

Beginning about the third week in November, crèches begin to be set up in villages and cities throughout the region. And in those crèches you’ll find dozens of figurines called santons. Santon comes from the Provencal word santou, meaning little saint, though few of these figures are now sainted. Santons of the holy family are naturally central to the crèche, but the vast majority of them represent characters of folklore and everyday life in the ideal, traditional Provencal village. While traditionally made of clay and hand painted, other materials such cardboard, cork, or even paper are used by some santonniers, as their creators are known. These cute, naïve and/or humorous figures are typically thumb-size, so taking a dozen home in your suitcase is no problem. Doll-size and baby-thumb-size santons also exist.

Santons are so anchored in Provence that shops sell them year-round, but to buy them in the Christmas spirit the best place may well be Marseille, where they’re said to have originated. Since 1803 Marseille has its Foire aux Santons, an annual traditional nativity fair where santons and other crèche features can be bought. This year’s fair will be held Nov. 15 to Dec. 31. Aix-en-Provence has had its own santon fair since 1934 (this season Nov. 20-Dec. 31), Arles has been celebrating all things crèche since 1958 (this season Nov. 15 to Jan. 12) and the small town of Carpentras also has a nice market for these precious figurines.

In Avignon as well as in other crèche-proud towns of France, one can follow a special route (le Chemin des crèches) to discover different animated and illuminated nativity scenes. Other regions also have crèche-routes outlined though villages, so don’t hesitate to inquire about crèche routes wherever you may travel during the holiday season. Whether travelers partake in it or not, they’re certain to hear along the way about the Provencal tradition of the 13 desserts of Christmas, which ends the Christmas Eve meal known the big supper (le gros souper). The desserts, numbering 13 in honor of Jesus and the 12 Apostles, consist of dried fruit and nuts, fresh fruit and sweets.

For further details about the above-mentioned towns and cities see the official tourist information sites of Avignon, Marseille, Aix-en-Provence, Arles and Carpentras.

Nice

Though the Riviera holds back on its winter exuberance until the February Carnival/Mardi Gras season, Nice hosts the largest Christmas village of the coast west of Marseille. From Dec. 6 to Jan. 4, Place Massena is given over to 60 chalets, a skating rink and lights galore, while concerts and other events are held on Place Garibaldi on weekend and school holidays. See here for official tourist information about Nice.

Paris

There’s no sweeter place to hunt for Christmas pastries than Paris, where you’ll find some of the best traditional and creative yule logs or buches de Noël, feasts for the eyes as well as for the mouth. The yule log is a log-shaped cake traditionally made of sponge-type cake and chocolate buttercream and then more cream. They can be found throughout France, but their greatest expression graces the fine pastry shops and tea rooms of Paris, where now anything goes as long as it’s got the general shape of a log and a gazillion calories. Though most come in family-size versions, the solitary or coupled traveler will find single or double portions as well.

As a whole, Paris doesn’t display the same seasonal fervor as, say, New York, but its major department stores take to the holiday spirit as eagerly as anywhere. This is particularly the case at the department stores Printemps and Galeries Lafayette, behind the Garnier Opera on Boulevard Haussmann, where families and shoppers (or gawkers) of all ages come to admire the year’s display of lights and window dressings.

The City of Light itself has Christmas markets at the bottom of the Champs-Elysées near Place de la Corcorde (Nov. 15-Jan. 5), at the Montparnasse Train Station (Dec. 4-31), Trocadéro, outside Saint-Sulpice Church (Dec. 1-24) and Saint-Germain-des-Prés Church (Dec. 6-Jan. 2) and in Montmartre (Dec. 5-Jan. 4), as well as the town of Versailles (Dec. 5-26) and other near suburbs. The English version of the official Paris information site is found here.

Bonnes fêtes de fin d’année!

© 2014, Gary Lee Kraut

A slightly different version of this article also appears in the Nov.-Dec. 2014 issue of Travelworld International magazine

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* * *

No casual tourist would describe Aix-en-Provence as a hotbed of the architectural avant-garde. From the terrace of Café des Deux Garçons, the Aix skyline looks just about like it did back when Paul Cézanne sipped his tisane with Emile Zola.

And yet the ultra-modern Sextius Mirabeau quarter, a showcase for Rudy Ricciotti, Kengo Kuma and some of the hottest 21st century design on the planet, is only a few blocks away. As one sips one’s pastis and looks around at the tawny-tinted 17th-18th century façades, the only question is “Where?”

Closer than you think

Like most 2000-year-old towns, Aix-en-Provence faced a severe space crunch in the mid-20th century. The population had exploded (from 30,000 in 1945 to 100,000 in 1975) and its summertime Lyric Festival, which started small and provincial in 1948, had gone global.

But unlike most 2000-year-old towns, Aix had a magic mushroom: 46 acres of friche—abandoned and under-used industrial land—that started right where the tree-lined Cours Mirabeau ended. City planners had coveted this terrain since the 1950s but given the multiple ownership couldn’t gain title to it.

Eventually, sorely-needed housing projects simply hop-scotched over the zone to new settlements west of the city, such as Jas de Bouffan, where the Fondation Vasarely broke ground in 1976. This left a void that started just west of the 19th-century Rotonde Fountain.

That’s not to say that nothing happened in this sector in the late 20th century. The Marseille autoroute bull-dozed through in the 60s, and a defunct match factory morphed into the Cité des Livres library complex in 1986. But the area wasn’t cleared for construction until negotiations were finalized over land held by the French railway company SNCF and the 1989 sale of the Thompson factory.

All these delays produced some happy results. The nastier brut abuse of the Pompidou era of the 1970s passed Aix by, and city planners had enough time to note that public opinion was against skyscrapers. Although the first set of plans had to be scrapped due the 1980s financial crisis, what emerged is all the more impressive.

Touring the new Aix

Head for the Napoleon III-era Fontaine de la Rotonde at the end of the Cours Mirabeau. It’s topped with three goddesses representing commerce, justice and the arts. One of those ladies, probably Miss Business, is staring hard at the brand-new, glass-walled Apple boutique that popped up last month. The gateway to New Aix is Les Allées Provençales, a series of sleek shopping and housing corridors (ca 2007) leading right across from Apple and the brand-new Tourist Office. Between Les Allees Provençales and the Grand Théâtre, you cross the Esplanade des Justes, inaugurated in March 2014.

The high architectural drama starts a few meters west at the Grand Théâtre de Provence, designed by Milan-based architect Vittorio Gregotti and inaugurated in 2007.

The choice of Gregotti as one the spirit guides for this new district is significant in itself. Gregotti is considered an anti-modernist of the Jane Jacobs/Robert Venturi ilk, believing that new architecture should harmonize with the existing urban context rather than make a stand-alone “statement” (e.g. Paris’s Tour Montparnasse).

Thus the curved, amphitheater-like entrance to the 1,366-seat building appears to nestle into its site, its stones carefully chosen to mimic the changing colors of Mont Sainte-Victoire. (Fact: The proximity of train tracks meant that the whole structure had to be mounted on springs.)

The rear of the theater, more linear but just as attractive, is visible from a high parvis (built above transit) that is home to two other 21st-century bijoux: the Centre Choréographique National d’Aix-en-Provence, nicknamed the Pavillon Noir, designed by Rudy Ricciotti (2006), and the comparatively virginal-looking, all-white Conservatoire Darius Milhaud (2013), signed Kengo Kuma.

Ricciotti, designer of Marseille’s drop-dead gorgeous MuCEM Museum (2013), used an angular, black concrete grid over sheets of glass for an effect that he has described as ”sado-maso” for the Aix Ballet’s home-base. It’s perfectly in line with the edgy work of Angelin Preljocaj, director of the Aix Ballet, famously quoted as saying “La création se fait dans le noir” (Creation takes place in the dark).

Next door, the angels (literally) sing in the Music Conservatory that Tokyo/Paris-based Kengo Kuma coated with shimmery, silver-white anodized aluminum that has been folded, origami-style, to create asymmetric zones of light and shadow. The concert hall, seating 500, is fashioned with wood-paneling in a similar origami treatment.

And below all this?

Remember the autoroute that was paved through the center of the neighborhood in the 1960s? Efforts have been made to beautify it as well. On one side on the tunnel, drivers see a vegetal wall developed by landscape artist Patrick Blanc in 2008. (Parisians know his work from vertical gardens at the Pershing Hall Hotel, the Quai Branly Museum and the BHV Homme store, among other places.) On the other side, yet to be completed, there will be a “water wall” (mur d’eau) commemorating Aix’s natural springs, designed by Christian Ghion.

Where to stay in the Sextius Mirabeau neighborhood?

This is a no-brainer. The glamorous, 5-star Mariott Renaissance opened right across from the Conservatory Darius Milhaud (Pavillon Blanc) in Feb 2014. Marseille architects Claude Sabon Nadjari and Rémy Saada drew up the plans which include a spa, a pool, and a gourmet Provençal restaurant that poached Aix’s top chef, Jean-Marc Banzo, from Le Clos de la Violette. The gastronomic restaurant (closed Sunday and Monday) serves dishes like grilled red mullet with zucchini spaghetti, calamars in squid ink and a reduced bouillabaisse sauce on its 90 € and 130 € prix fixe menus. (There’s also a bistro, open daily serving a 25 € lunch and a 39 € dinner.)

Christian Ghion designed the sleek furniture for the 133 guestrooms that are long on creature comforts: king-size beds, rain showers, AC, coffee/tea service, WiFi and iPod music chargers.

Even in a luxury hotel, however, you won’t get away from the fact that Aix, with 40,000 students, is youth-oriented. (There’s Gatorade right next to the Rémy Martin in the mini-bar.) To fit in better, book yourself a “face-modelling massage” at the spa or go directly to the bar and order the Renaissance cocktail (orange vodka, amaretto, lemon juice, ginger and sesame oil) and test its Phoenix effect.

Note that from many rooms like N° 18, you’ll have a great view of the Water Wall, which, when finished, will be the largest of its kind in Europe.

Marriott Renaissance Aix-en-Provence. 320 avenue Wolfgang Amadeus Mozart, 13100 Aix-en-Provence. Tel: 04.86.91.54.50.

Exterior Aix

Modern art doesn’t stop at the city limits. Forgo the all-too-familiar Cézanne route and check out the Fondation Vasarely, an Op Art palazzo presided over by Pierre Vasarely, grandson of the artist Victor Vasarely. It’s rare to be able to see this artist’s illusionistic work on a large scale… and ‘large’ for Vasarely was as tall as a two-story building. It’s a hike out of town, but the N° 2 bus takes you up to the doorstep.

Fondation Vasarely. Jas de Bouffan, 13690 Aix-en-Provence. Tel: 04 42 20 01 09. Closed Monday. Through September 2014, the museum showcases the work of Venezuelan op-artist Carlos Cruz-Diez.

Count on a half-hour drive due north to the Château La Coste and get an early start because it’s worth a day-long visit. Irish businessman/bio-dynamic wine entrepreneur Patrick McKillen has spiked his vineyards with works by a Who’s Who of contemporary artists.

Tadao Ando created the striking entry, Jean Nouvel designed the wine production area, and the surprises on the grounds include a Louise Bourgeois spider, a Calder stabile, a Frank Gehry music pavilion “rescued” from its Serpentine sojourn in London, Liam Gillick screens, a Druid-like subterranean vault by Andy Goldsworthy and Michael Stipe foxes… and that’s not all.

It takes at least three to four hours to see all the installations… and new ones are being built all the time. (Kengo Kuma, Ai Weiwei, Carsten Holler and Renzo Piano are on the coming attractions list.) Eventually, the owner plans to create a hotel.

In the meantime, there’s wine to drink and food to eat in two different restaurants. One—slightly more formal, overlooking a Hiroshi Sugimoto sculpture in a reflecting pool—serves quinoa tabbouleh and foie gras. The second—set in a village-like townscape which is actually where La Coste vineyard workers live—serves gazpacho and salads. Open daily. Call ahead for information about wine tastings and special evening events.

Château La Coste. 2750 Route de la Cride, 13610 Le Puy-Sainte-Réparade. Tel: 04 42 61 92 90.

© 2014, Corinne LaBalme

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* * *

An up-and-coming hotel group decides to make a move on a historic rural inn, expand the building, triple its number of rooms, install a spa and add a conference center. With a project like this, there’s a lot that can go amiss on the aesthetic side, but the Marseille-based Maranatha Group has pulled it off with panache.

The 4-star Moulin de Vernègues, whose foundations date to the 13th century, packs a whole Dan Brown mini-series into its stone walls. The Knights Templars slept here (a yet-undiscovered underground tunnel presumably leads to their fortress) and they may well have buried a secret treasure somewhere beneath the paving stones. PG-rated Good King René patronized the dining hall, but the family kept things kinky by marrying into the Marquis de Sade dynasty. Chartreuse monks brewed mysterious potions on the premises in the 17th century. Post-revolution, the building operated as a postal relay.

While the redecoration of the old house (which includes a private chapel) was not entirely finished when we visited in May, we liked everything we saw. The 13th-century fireplace and elaborately-painted ceiling beams mesh well with contemporary furniture in Provençal shades of almond, poppy, lilac and ochre.

The 34 rooms in this section of the hotel blend historically austere lines with fancy bathrooms and cable TV.

What’s more surprising is how well the modern extensions work. Architect Olivier Sabran has linked the old and new buildings with covered bridges and artfully harmonized the new construction materials with the old stonework. The spa (sauna, hammam, Jacuzzi plus massages and Occitan facial treatments) has been nestled into the former stables.

Those covered bridges add a labyrinth factor to navigating the hotel.  It’s easy to get lost betwixt the bedroom and the bar even before you have a drink. But if you do want a drink with dinner, the wine-list ranges from delightful Côteaux d’Aix en Provence from the Château de Calaron, 29€, to 1986 Cheval Blanc, 875€. The morning after, breakfast is large and lavish–don’t miss the house-made jams.

There’s more to Vernègues than tanning at the pool and hot-stone massages at the spa. Most visitors work off the calories at the adjoining Golf de Pont-Royal. (You can see the second hole from the dining room.) It’s a technical course designed by Seve Ballesteros. Bring your camera for the par 4 seventh hole, a dogleg with a spectacular view of the Alpilles and Lubéron hills.

A drawback for all this rural charm is that it’s about a 45-minute drive to Avignon, Arles or Aix-en-Provence, but that could also be seen as an advantage since it places visitors more or less equidistant from each of these towns as well as just 25 minutes from Cavaillon, home to a succulent melon.

Le Moulin de Vernègues, Route Domaine et Golf de Pont Royal, RN7, 13370 Mallemort, Bouches-du-Rhone. Tel. 04 90 59 12 00. Summer rates run 183-390€, slightly lower in other seasons plus other off-season packages.

© 2013, Corinne LaBalme

Corinne LaBalme, a Paris-based writer, journalist and editor, is currently developing a series of lifestyle documentaries for Muses Productions.

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