Police Say Louvre Defenses Lagged as Jewel-Heist Suspects Near Custody Cutoff 

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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Police Say Louvre Defenses Lagged as Jewel-Heist Suspects Near Custody Cutoff 

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)

Paris police acknowledged major gaps in the Louvre’s defenses on Wednesday, turning this month's dazzling daylight theft into a national reckoning over how France protects its treasures.

Paris Police Chief Patrice Faure told Senate lawmakers that aging systems and slow-moving fixes left weak seams in the world’s most-visited museum.

“A technological step has not been taken,” he told lawmakers, noting parts of the video network are even still analog, producing lower-quality images that are slow to share in real time.

A long-promised revamp — a $93 million project requiring roughly 60 kilometers (37 miles) of new cabling — “will not be finished before 2029–2030,” he said.

Faure also disclosed that the Louvre’s authorization to operate its security cameras quietly expired in July and wasn’t renewed — a paperwork lapse that some see as a symbol of broader negligence after thieves forced a window to the Apollo Gallery, cut into cases with power tools and fled with eight pieces of the French crown jewels within minutes while tourists were inside.

“Officers arrived extremely fast,” Faure said, but he added the lag occurred earlier in the chain — from first detection, to museum security, to the emergency line, to police command.

Faure and his team said the first alert to police came not from the Louvre’s alarms, but from a cyclist outside who dialed the emergency line after seeing helmeted men with a basket lift.

Suspects' custody expiring

Officials say two suspects were arrested over the weekend, including one stopped at Charles-de-Gaulle Airport as he tried to leave France.

Under French rules for organized theft, custody can run up to 96 hours; that limit expires late Wednesday, when prosecutors must charge the suspects, release them, or seek a judge’s extension.

The Louvre values the eight stolen pieces at about $102 million. None has been confirmed recovered.

The theft has also exposed an insurance blind spot: officials say the jewels were not privately insured. The French state self-insures its national museums, because premiums for covering priceless heritage are astronomically high, meaning the Louvre will receive no payout for the loss. The financial blow, like the cultural wound, is total.

Faure pushed back on quick fixes. He rejected calls for a permanent police post inside the palace-museum, warning it would set an unworkable precedent and do little against fast, mobile crews. “I am firmly opposed,” he said. “The issue is not a guard at a door; it is speeding the chain of alert.”

He urged lawmakers to authorize tools currently off-limits: AI-based anomaly detection and object tracking (not facial recognition) to flag suspicious movements and follow scooters or gear across city cameras in real time.

The Oct. 19 heist was swift and simple. In the morning rush, thieves reached the jewel gallery near streetside windows, cut through reinforced cases and vanished in minutes. Former bank robber David Desclos told the AP the operation was textbook and vulnerabilities were glaringly obvious in the layout of the gallery.

Museum and culture officials under pressure

Culture Minister Rachida Dati, under pressure, has stayed defensive, refusing the Louvre director’s resignation and insisting alarms worked while acknowledging “security gaps did exist.” She has kept details to a minimum, citing ongoing investigations.

The reckoning lands at a museum already under strain. In June, the Louvre shut in a spontaneous staff strike, including security agents, over unmanageable crowds, chronic understaffing and “untenable” conditions.

Unions say mass tourism and construction pinch points create blind spots, a vulnerability underscored by thieves who rolled a basket lift to the Seine-facing façade and reached a hall displaying the crown jewels.

Faure said police will now track surveillance-permit deadlines across institutions to prevent repeats of the July lapse. But he stressed the larger fix is disruptive and slow: ripping out and rebuilding core systems while the palace stays open, and updating the law so police can act on suspicious movement in real time - before a scooter disappears into Paris traffic and diamonds into history.

For Desclos, the practical answer is unsentimental: vault the originals and display perfect replicas. Romance aside, he argues, the point is that the real objects survive.

Experts fear the stolen pieces may already be broken down and stones recut to erase their past - a prospect that adds urgency to France’s debate over how it guards what the world comes to see.



UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
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UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
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Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.


New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
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New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)

In a quiet space secluded from the throngs of daily visitors to Madrid's Prado art museum, a team of experts perpetuate an ancient tradition of restoring centuries-old European cultural treasures.

Creations by some of art's most illustrious names -- Goya, Velazquez, Rubens, Caravaggio, Bosch and El Greco -- are conserved in the vast, bright space at one of the world's most-visited museums.

The Prado has always put an emphasis on the conservation and restoration of art since it opened to the public in 1819.

Cutting-edge technology and modern tools to analyze and treat paintings and sculptures allow Almudena, Marta, Maria, Alvaro, Alicia, Elena, Sonia and Eva to maintain the tradition.

The team is capable of caring for the museum's most prized collections as well as works from other institutions.

In February, the Prado launched the restoration of "Pablo de Valladolid", an emblematic portrait that Spanish master Velazquez produced in the 17th century.

But the work will first undergo a deep technical analysis by new equipment, the museum said in a statement.

Scanning technology will allow the experts to identify and locate the materials used by the artist, while multispectral infrared reflectography will reveal details invisible to the naked eye.

Everything contributes to a deeper understanding of the artist's technique, the work's state of conservation and preparing its restoration.