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.



Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo
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Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo

The League of Arab States affirmed the importance of consolidating the values of coexistence and mutual respect, promoting a culture of dialogue, and enhancing social cooperation, as these represent the foundation for building stable and prosperous societies amid the increasing cultural and religious diversity witnessed around the world, Emirates News Agency (WAM) reported.

In a statement issued ahead of the International Day for Tolerance, observed annually on November 16, the Cairo-based pan-Arab organization explained that respecting the right of others to differ and believing that diversity is a source of civilizational richness constitute a fundamental pillar for achieving true peace and strengthening social stability, WAM said. It stressed that tolerance is a human and ethical value that no society aspiring to progress can dispense with.

The League stressed the need to integrate the values of tolerance, dialogue, and coexistence into the vision of societies and the mission of their institutions, considering tolerance a bridge toward a safer, more just, and more humane future.

In this context, the League of Arab States is working on adopting the “Arab Declaration on Tolerance and Peace” as a guiding framework to support future efforts to anchor mutual respect and peaceful coexistence. The declaration also aims to enhance communication between different cultures and reject all forms of hatred, extremism, and discrimination, ensuring the preservation of human dignity regardless of religion, color, language, or culture.

The International Day for Tolerance is an annual observance day declared by UNESCO in 1995 to generate and raise public awareness about intolerance and promoting mutual respect, human rights, and cultural diversity.


Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
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Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP

The Vatican on Saturday returned 62 artifacts connected to the Indigenous peoples of Canada to the country's Catholic bishops, offering what it called "a concrete sign of dialogue, respect and fraternity", a statement said.

Pope Leo gifted the objects to the Canadian Conference of Catholic Bishops following a meeting with their representatives including their president, Bishop Pierre Goudreault, said Reuters.

"The CCCB will proceed, as soon as possible, to transfer these artifacts to the National Indigenous Organizations (NIOs). The NIOs will then ensure that the artifacts are reunited with their communities of origin," the Canadian bishops said.

Catholic missionaries sent the artifacts to Rome on the occasion of a 1925 exhibition held by Pope Pius XI that displayed more than 100,000 objects. Nearly half of them later formed a new Missionary Ethnological Museum and were transferred to the Vatican Museums in the 1970s.

In 2022, the late Pope Francis issued a historic apology to Canada's Indigenous peoples ahead of his visit to the country for the Catholic Church's role in residential schools where many children suffered abuse and were buried in unmarked graves.

The repatriation of the native artifacts held at the Vatican Museums was also part of the talks between the Church and the Indigenous leaders.


Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
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Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP

As the Studio Museum reopens this weekend in its gleaming new building, New York's premier institution for Black art finds itself looking back and looking forward at the same time.

Colorful signs featuring permanent works have sprouted near the museum's home in Harlem, a center point in Black life and imagination in America for more than a century, AFP said.

The museum, closed for the more than seven-year project, has commissioned new works to commemorate the reboot, which features expanded studios for the institution's artists-in-residence program.

But the 57-year-old museum is also hearkening back to its roots with a retrospective of the late Tom Lloyd, whose electronically programmed wall sculptures anticipated today's digital age.

Some of the same pieces were hung in the museum's inaugural 1968 show back when works by artists of African descent were mostly absent from New York's leading museums.

Today's art scene is very different.

Rashid Johnson, Amy Sherald and others are regularly showcased in shows at the Guggenheim, Whitney and other nameplate New York museums, which have also hosted retrospectives belatedly recognizing Black movements.

"In the time of the museum's life, we have seen this incredible trajectory and some of that is a result of the work that the museum did in its establishment and its early years," said Studio Museum director Thelma Golden, who oversaw a more than $300 million drive to finance a teardown and newbuild project that cements the museum's ties to Harlem.

"The aperture opens, but even with that, we still believe deeply in the work that continues to need to be done."

'Truly current work'

The museum's history is laid out in photos of the 1968 groundbreaking, and there are posters of jazz nights, "Uptown Friday" gatherings, high school programs and of shows such as a retrospective of James Van Der Zee, a famed photographer during the Harlem Renaissance.

The founders' ambitions included creating a place distinct from New York establishments like the Museum of Modern Art.

The Studio Museum will present "truly current work," founders wrote in 1966. The work "could turn out to be a flash in the pan or could conceivably begin an entire new school or new direction in art."

Backers also sought to redefine Harlem, "which is all too often equated with slums, violence and other evils," and to deepen the commitment of supporters -- some white -- to "make New York City a united city rather than one which is currently divided by an invisible Berlin wall."

Key turning points included 1981, when the Studio Museum broke ground at its current address at 144 West 125th Street.

Another shift came after Golden joined in 2000, when the mission statement was expanded beyond US-born creators to artists of African descent "locally, nationally and internationally."

Signature works

That broadened scope is boldly expressed on the building's exterior with a red, black and green flag by David Hammons inspired by the Pan-African flag of the 1920s associated with activist Marcus Garvey.

Another signature work is Houston Conwill's "The Joyful Mysteries," containing statements by seven prominent Black Americans written for future generations. The time capsules will be opened in September 2034, 50 years after their creation.

The new edifice itself nods to Harlem's architectural vernacular, with a mass of geometries in gray concrete and glass. The building has received rapturous reviews, and this weekend offers the public a first look.

Golden described the site as aiming to "redefine what a museum can be in its space and content."

She credited her predecessors, not all of whom lived to see Black art achieve mainstream acceptance.

"I am well aware that they did not get to see the fruits of the labor," Golden told AFP. "The inheritance I have from them is that they believed so deeply that that belief carries from '68 to this moment."