What to Know About the Louvre Heist Investigation

 French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
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What to Know About the Louvre Heist Investigation

 French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)
French CRS riot police officers walk near the glass Pyramid of the Louvre Museum, after French police arrested suspects in the Louvre heist case, in Paris, France October 27, 2025. (Reuters)

More than 100 investigators are racing to piece together how thieves pulled off the brazen heist at the Louvre Museum in Paris, working to recover the stolen gems and bring those responsible to justice.

The daytime theft of centuries-old jewels from the world’s most-visited museum, thought to be of significant cultural and monetary value, has captured the world’s attention for its audacity and movie plot-like details.

Two suspects are in custody, but thus far little has been revealed about how the investigation is unfolding, a source of frustration for those accustomed to the 24-hour flow of information in American true crime or British tabloids.

Suspects, like the jewels themselves, have remained out of sight, the case file cloaked in mystery and French authorities characteristically discreet.

Paris prosecutor Laure Beccuau said that more details would come once the suspects’ custody period ends, expected midweek.

But here's what we know so far about the case:

What investigators want to know Authorities said it took mere minutes for thieves to ride a lift up the side of the museum, smash display cases and steal eight objects worth an estimated 88 million euros ($102 million) on Oct. 19. The haul included a sapphire diadem, necklace and single earring from a set linked to 19th-century queens Marie-Amélie and Hortense.

Beccuau said an investigation was opened into potential charges of criminal conspiracy and organized theft, which can carry hefty fines and yearslong prison sentences.

How France handles arrests Beccuau said investigators made arrests Saturday evening but didn’t name them or say how many. One suspect, she added, was stopped at a Paris airport while trying to leave the country.

In France, where privacy laws are strict, images of criminal suspects are not made public as they often are elsewhere. Suspects aren’t paraded before cameras upon arrest or shown in mugshots.

The presumption of innocence is inscribed in France's constitution and deeply valued throughout society.

Information about investigations is meant to be secret under French law, to avoid compromising police work and to ensure victims' right to privacy, a policy known as ″secret d’instruction.” Only the prosecutor can speak publicly about developments, and violators can be prosecuted.

Police and investigators are not supposed to divulge information about arrests or suspects without the prosecutor's approval, though in high-profile cases, police union officials have leaked partial details. Beccuau on Saturday rued the leak of information about the ongoing investigation.

A police official, who was not authorized to speak publicly about the ongoing case, told The Associated Press that two men in their 30s, both known to police, were taken into custody. He said one suspect was arrested as he attempted to board a plane bound for Algeria.

Additional arrests may follow as the investigation continues.

Inside the investigation The more than 100 investigators that Beccuau said are assigned to the case are combing through 150 DNA samples, surveillance footage and evidence left behind in the thieves’ wake.

Those assigned include the Brigade for the Repression of Banditry, the special police unit in charge of armed robberies, serious burglaries and art thefts.

Recovering the jewels could be among the most difficult parts of investigators' work. French authorities have added the jewels to Interpol’s Stolen Works of Art Database, a global repository of about 57,000 missing cultural items.

Interpol, the world’s largest international police network, does not issue arrest warrants. But if authorities worry a suspect may flee, Interpol can circulate the information using a color-coded notice system.

The French investigators can also work with European authorities if required. They can turn to the European Union’s judicial cooperation agency, Eurojust, or its law enforcement agency, Europol. Eurojust works through judicial cooperation between prosecutors and magistrates, while Europol works with police agencies.

Both can help facilitate investigations and arrests throughout the 27-member bloc. Requests for help must come from the national authorities, and neither organization can initiate an investigation.

What happens next? Beccuau said more details would be released once the suspects' time in custody expires. Suspects investigated for criminal conspiracy can be held for up to 96 hours before charges are filed.

But don’t expect a flood of updates. Indictments and verdicts are not routinely made public in France. French trials are not televised, and journalists are not allowed to film or photograph anything inside the courtroom during a trial.



Italy’s Lecce… Florence of the South

The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
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Italy’s Lecce… Florence of the South

The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
The city has an ancient history that stretches back more than 2,000 years (Getty Images) 

‘The best way to experience Lecce is to walk around looking up.’

That is what a tourist is told shortly after arriving in the second-largest city in Italy’s Puglia region, often described as the “Florence of the South.”

And not because it is a place filled with skyscrapers like New York. Rather, because so much of its beauty is built into its exquisite architecture, according to London’s Metro newspaper.

The cobbled streets are steeped in history, and every Baroque-era building tells a story, much like its northern sister.

Florence attracts millions of tourists each year, many of them drawn by world-famous masterpieces.

There are frescoes by Giotto, canvases by Botticelli, and sculptures by Michelangelo — it is the cradle of the Renaissance, after all.

As for Lecce, the city sits in the Salento peninsula of Puglia, and its honey-drenched limestone is its dominant feature.

Much like Florence, you are never far from a church. Again and again, you see an unassuming facade and find an incredible duomo inside.

Nothing compares to Lecce Cathedral, built in the 12th century in the heart of the historic center, the Piazza del Duomo.

You could spend hours taking in the intricacies of the artwork: pillars romanticized with tiny cherubs, altars carved in gold and huge stone fonts.

Remembering the advice, tourists should look up at the ceiling and find a version of The Last Supper, painted by Giuseppe da Brindisi.

By night, the streets of Lecce are a gorgeous setting for walking off hearty meals, shopping and finding hidden gems like secret gardens in courtyards.

Lecce is smaller than Florence and less crowded, but is just as impressive. This city might be big on siestas, but it’s certainly not one to be slept on.

 

 


‘The Eye of Goliath’, A Novel That Recalls Jekyll and Hyde

Cover of “The Eye of Goliath” book
Cover of “The Eye of Goliath” book
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‘The Eye of Goliath’, A Novel That Recalls Jekyll and Hyde

Cover of “The Eye of Goliath” book
Cover of “The Eye of Goliath” book

By Dexter Palmer* 

“The Eye of Goliath”, the Argentine writer Diego Muzzio’s dark-humored, macabre puzzle box of a novel, is set just after World War I, in an Edinburgh sanitarium that “harbored a select group of the many mentally ill people who had come back from the war.”

The institution’s psychiatrist, Edward Pierce, conducts controversial research into hypnosis as a means of treating mental illness. His peers think his experiments are “destined to fail before too long,” while Pierce finds their “methods, based on pharmacology and electricity, to be ineffective and obsolete.”

A new patient, an engineer named David Bradley, arrives at the sanitarium after being stranded on an island with an abandoned lighthouse, which he was sent to assess by his employers.

Pierce sees a chance to prove the viability of his innovative psychiatric procedures.

Traumatized and unable to speak, Bradley is possessed by a need to swim at all times. He has documented his time on the island in a diary, which makes up the second part of the book and details his descent into madness and persistent terror. Muzzio then returns to Pierce and the treatment of his perplexing patient.

This complexly plotted novel is deeply intertextual, and Muzzio uses other writers’ themes as a hip-hop producer might use samples, crafting new tunes by borrowing fragments of familiar melodies and arranging them in new ways.

Allusions abound to Lewis Carroll’s “Alice’s Adventures in Wonderland,” Dante’s “Inferno,” the first Book of Samuel, the work of the writer and naturalist William Henry Hudson and Coleridge’s “The Rime of the Ancient Mariner.”

The most significant influence, however, is Robert Louis Stevenson’s Gothic novella “Strange Case of Dr Jekyll and Mr Hyde.”

A few mentions function as blinking neon signposts (Pierce has a copy of the book in his bedroom; the lighthouse engineer David Alan Stevenson, Robert’s real-life cousin, makes an appearance), but subtler engagements with the novella also come into view.

Pierce’s neuralgia, a condition of crippling headaches caused by shrapnel lodged in his head, is kept in check by increasingly frequent doses of morphine.

His habit echoes Dr Jekyll’s dependence on his secret elixir, which he first imbibes to deliver his evil alter ego, Hyde, to the world (and then takes to restrain Hyde from appearing on his own).

An act carried out on a pair of corpses is viewed from two perspectives, one that regards it as a desecration and the other as a performance of remorse; where one person might see a Hyde, another might see a Jekyll. Twins and duplicates appear throughout, including one clever moment when the book itself becomes doubled. In its elegant, sometimes playfully quaint prose (ably translated from the Spanish by Rahul Bery) and in its structure, particularly the documents that make up Bradley’s section, the novel gestures toward the Gothic without wholly turning into pastiche.

Behind Pierce’s and Bradley’s plotlines are memories of the recently ended war, which both men would prefer to forget.

Flashbacks to the phantasmagoria of trench warfare, a “fabulous catalyst for insanity,” are the novel’s most unsettling passages.

Pierce views the personification of war as a grotesque distortion of Carroll’s Alice, a girl with “glimmering eyes who went about with a jingling bunch of keys, opening all the chambers of the mind where legions of babbling demons had been shut away.”

The trenches are where every man is forced by circumstance to bring forth a Hyde, not for the pleasure that Stevenson’s Hyde takes in violence, but for mere survival. In this compelling novel, the fates of both Pierce and Bradley suggest that no matter how justified one may be for letting Hyde run riot the first time, it is extremely difficult to contain him again.

 

*The New York Times


On World Architecture Day, Madinah Reflects Its Identity Through Its Urban Landscape

Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
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On World Architecture Day, Madinah Reflects Its Identity Through Its Urban Landscape

Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)

The first Monday of October marks World Architecture Day, an occasion that highlights the role of architecture in shaping cities and enhancing the quality of the urban environment. Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage while preserving the authenticity and distinctiveness of the place, the Saudi Press Agency reported Tuesday.

Madinah’s architectural style embodies an approach that derives its identity from the city’s architectural features and cultural elements, incorporating them into contemporary designs. This strengthens the connection between the urban landscape and the city’s history and local environment, giving its projects a distinctive character.

Local architecture showcases details historically associated with the city, such as rawasheen (traditional projecting wooden windows), courtyards, basalt stone, and other heritage-inspired elements. Reinterpreting these features through contemporary methods helps strike a balance between authenticity and the demands of modern life, creating urban environments that respond to human needs while ensuring comfort and privacy.

Architectural features and design identities rooted in the local environment enhance the distinctiveness of the urban landscape and elevate design quality, aligning with future aspirations while simultaneously preserving the memory and identity of the place. The focus on Madinah’s architectural identity aligns with the objectives of Saudi Architecture, which aim to enhance urban identity, improve the urban landscape, and develop sustainable, human-centric urban environments in harmony with the objectives of Saudi Vision 2030.