Empress Eugénie’s crown was found broken after the Louvre robbery. Automatic translate

The Louvre robbery in Paris occurred on the morning of October 19, 2025, when criminals stole nine pieces of jewelry from the Napoleon and Empress collection. The daring theft took place in the Apollo Gallery in less than seven minutes, after which the museum closed for the day. One of the stolen items, the crown of Empress Eugénie, was later discovered damaged near the building.

Details of the robbery

Around 9:30 a.m., several thieves entered the Louvre through the Seine-side façade, where construction work was underway. The thieves used a lifting platform on a truck to reach a first-floor window. Using a rotary cutter, they cut the windowpanes and entered the building.

The target of the raid was the Apollo Gallery, a room in the Denon wing housing the remaining French crown jewels. The thieves smashed display cases and stole nine pieces from the imperial jewelry collection. One of the thieves stood guard, while the other two used chainsaws and chain saws to pry open the protective cases.

After completing the theft, the perpetrators fled on scooters, heading south of Paris. The entire operation lasted approximately four to seven minutes. The first visitors were already inside the museum, but no one was injured.

Stolen Treasures

The stolen jewels come from the collection of Napoleon III and his wife, Empress Eugénie. Among the stolen items are brooches, necklaces, and tiaras of inestimable historical significance. One of the items was found damaged outside the museum.

The discovered crown of Empress Eugénie was created specifically for the 1855 World’s Fair in Paris. This piece, 13 cm high and 15 cm in diameter, is crafted of gold and adorned with 2,480 diamonds and 56 emeralds. Eight golden eagles form arches, alternating with laurel leaves emerging from palmettes. The composition is crowned by a diamond sphere with a circle of emeralds and a cross of six diamonds.

The crown was designed by jeweler Alexandre-Gabriel Lemonnier based on the imperial coat of arms of the First Empire. After the overthrow of Napoleon III in 1870, the piece was returned to the former empress, who bequeathed it to Princess Marie-Clotilde Bonaparte. In 1988, the crown was sold at auction, and Roberto Polo subsequently donated it to the Louvre.

The Apollo Gallery and the Crown Jewels

The Apollo Gallery was built by order of Louis XIV, a king who identified himself with the sun god Apollo. It was one of the monarch’s first architectural projects, designed to emphasize his grandeur. The foremost painters, gilders, and sculptors of the time were commissioned to create this masterpiece of royal power. The same artisans later worked on the Hall of Mirrors at Versailles.

The gallery has been displaying the remaining crown jewels of France since 1887. The Third Republic sold most of the crown jewels, fearing a monarchical coup. Only 23 objects of historical significance were exempted from the sale. These treasures were housed in display cases designed by Louvre architect Edmond Guillaume.

Among the gallery’s exhibits are the crowns of Louis XV and Napoleon, the 20-carat orange-pink Hortensia diamond, acquired by Louis XIV, the 140-carat Regent diamond, considered one of the purest diamonds in the world, and the 55-carat pale yellow Sancy diamond, formerly part of the British Crown Jewels.

The authorities’ reaction

French Culture Minister Rachida Dati arrived at the scene along with museum staff and police. She confirmed that the robbery occurred during the Louvre’s opening morning, but no one was injured. Dati praised the criminals’ professionalism and swift action.

Interior Minister Laurent Nunez described the theft as a "major robbery." He explained that the perpetrators had clearly been scouting the area. Nunez emphasized that the stolen items were of incalculable value due to their cultural and historical significance.

The museum announced its closure for the day due to "exceptional reasons." The grounds were cordoned off, and visitors were evacuated from the famous glass pyramid and adjacent courtyards. The iron gates were locked, and access to nearby streets along the Seine was restricted.

Investigation

Investigative actions began immediately after the theft was discovered. Authorities are compiling a complete inventory of the stolen items, which requires a thorough inventory of the collection. Forensic experts are working at the scene, collecting evidence and traces.

An investigation has been opened into the organized theft. Police are reviewing surveillance footage and interviewing witnesses. The search for the perpetrators is ongoing, but their whereabouts are still unknown.

Ariel Weil, the mayor of the central Paris district, noted that the robbers clearly planned the operation meticulously. He stated that he couldn’t recall a Louvre heist in over a hundred years and compared the event to the theft of the Mona Lisa in 1911.

The History of the Louvre Thefts

The most famous crime in the museum’s history occurred on August 21, 1911, when Italian Vincenzo Peruggia stole Leonardo da Vinci’s Mona Lisa. Peruggia, who worked at the Louvre, removed the painting from the wall on a Monday when the museum was closed to visitors. He hid inside the building and carried out the masterpiece under his work coat.

The police questioned all the Louvre’s permanent staff, then began interviewing temporary workers. Investigators visited Perugia twice, but he was not considered a suspect. A fingerprint from the thief was found on the glass display case, but the police forgot to check it against the file cabinet. The painting was only discovered two years later, when Perugia attempted to sell it in Florence in December 1913.

In 1983, two Renaissance pieces — pieces of knightly armor — were stolen from the Louvre. They were not returned until nearly four decades later. In 1971, Gustave Courbet’s painting "The Wave" was stolen; its fate remains unknown.

During the Nazi occupation of France, the museum suffered from looting. Many works of art were removed, some of which were never returned to the collection.

Security concerns

The theft occurred amid long-running debates over Louvre security. Museum staff have repeatedly criticized working conditions and the shortage of security guards. In June 2024, the Louvre did not reopen due to a staff strike, which raised concerns about overcrowding and chronic understaffing.

Unions warned that mass tourism was putting excessive pressure on security and visitor management. In 1911, the Louvre had over 400 rooms but only 200 guards, with their numbers even lower at night. The current situation, according to staff statements, has changed little.

Protecting its famous works of art remains the museum’s priority. The Mona Lisa is housed behind bulletproof glass and a state-of-the-art display system, part of extensive anti-theft measures. However, the events of October 19th exposed the vulnerability of other collections.

The significance of the Louvre

The Louvre is the most visited museum in the world. In 2024, it received 8.7 million visitors. American tourists accounted for 13% of the total number of visitors, second only to the French. The museum is housed in a former royal palace and served as the residence of French monarchs from the 14th to the 18th centuries.

The Louvre’s collection spans millennia of civilization and includes outstanding works of art. In addition to the Mona Lisa — a portrait of a 16th-century Italian noblewoman with an enigmatic smile — it houses Egyptian antiquities, Greek sculpture, and works by Renaissance and Baroque masters.

Museum closures are rare. Such measures have been taken during wars, the COVID-19 pandemic, and several strikes. The Louvre last closed in June due to staff protests against overcrowding and understaffing.

Empress Eugenie

Eugénie de Montijo, wife of Napoleon III, was Empress of the French from 1853 to 1870. Although neither she nor her husband were crowned, the crown was created specifically for the 1855 World’s Fair to demonstrate the grandeur of the Second Empire.

The crown embodies the style of the Second Empire, particularly the art of creating intricate embellishments and borders. In 1855, the empress’s jeweler created a belt for her, studded with 4,485 diamonds. By 1864, the belt was dismantled and remade — its central section transformed into a magnificent bow brooch with five pendants and a pair of diamond tassels.

Following defeat in the Franco-Prussian War, the Third Republic was proclaimed on January 11, 1871. The imperial couple went into exile in Great Britain. The former emperor died in 1873 and was buried in St. Michael’s Abbey in Farnborough. His son, the Prince Imperial, who died in 1879 fighting for the British Empire against the Zulus, rests next to him.

Eugenia lived on Farnborough Hill for many years. Part of her house was used as a hospital for wounded officers during World War I. Although she died in Madrid on July 11, 1920, her body was also buried at Farnborough.

Diadem of the Duchess of Angoulême

Among the exhibits in the Apollo Gallery is the Duchess of Angoulême’s tiara. As its name suggests, it was created for Marie-Thérèse, the Duchess of Angoulême, the only child of Louis XVI and Marie Antoinette to survive the French Revolution. The tiara was given to her by her husband, Louis Antoine, whom she married in 1799.

The piece was made in 1819-1820. It contains several stones already owned by the French crown, as well as new acquisitions. The tiara contains 40 emeralds, totaling 77 carats, set in yellow gold, and 1,031 diamonds, totaling 176 carats, set in silver.

After the abdication of her father-in-law and husband, the tiara remained in the possession of the French state as part of the royal jewels. Its new owner was Empress Eugénie, wife of Napoleon III. In the late 19th century, the piece was sold at auction, but in the early 2000s, it returned to France and the Louvre.

Consequences for the museum

The October 19th robbery has called into question the effectiveness of the security system at one of the world’s most important cultural institutions. The use of scaffolding and an elevating platform indicates potential breaches in the building’s perimeter security during renovations.

The speed of the operation — four to seven minutes — testifies to the criminals’ high level of professionalism. They knew exactly where the desired display cases were, how to breach the security, and which route to take to exit the building. This level of preparation requires meticulous reconnaissance and planning.

The damaged crown of Empress Eugénie, discovered near the museum, may indicate that the looters abandoned it in haste or due to its size. The remaining eight items remain missing. Their whereabouts are unknown.

International resonance

News of the Louvre heist spread instantly around the world. The museum is protected by UNESCO as a World Heritage Site. Any crime against its collection is perceived as a blow to global culture.

Tourists who had come to Paris specifically to visit the Louvre were left confused. Video footage from the scene shows crowds of bewildered people behind the cordon, watching the police action. Many had planned to spend the entire day at the museum and were disappointed by the sudden closure.

French authorities have assured that they will do everything possible to return the stolen treasures. The investigation is being conducted across all avenues, using international databases of stolen works of art. Interpol has been notified of the theft.

The future of the collection

The Apollo Gallery underwent a major renovation from 2001 to 2004, and was cleaned again in 2019. The display cases, designed in 1887 by Edmond Guillaume, were complemented by new cases designed by Daniel Pasgrimo in 1985 and Juan Felipe Alarcón in 2020.

The theft of nine objects from the collection seriously damages France’s cultural heritage. These objects represent the history of the French monarchy and empire, linking modern times to the era of Napoleon III and the Second Empire. Their loss is felt not only materially but also symbolically.

The Louvre’s management is faced with the need to review its security measures. This will likely require enhanced security for display cases, the installation of additional motion sensors, and the upgrading of video surveillance systems. Particular attention must be paid to periods of construction work, when standard protective barriers may be weakened.

Comparison with other thefts

Art history is replete with high-profile thefts against museum collections. The Louvre theft is reminiscent of the 1990 robbery of the Isabella Stewart Gardner Museum in Boston, when criminals posing as police officers stole 13 works of art worth approximately $500 million. These paintings remain missing.

In 2003, a gold salt cellar by Benvenuto Cellini worth 50 million euros was stolen from the Kunsthistorisches Museum in Vienna. It was discovered buried in a forest three years later. In 2019, 18th-century jewels worth over a billion euros were stolen from the Green Vault in Dresden.

The Louvre heist stands out for its audacity — it took place during the day, when the museum was open to the public. The criminals risked breaking into one of the world’s most famous buildings, where employees and visitors are constantly present. Such audacity speaks either of desperation or confidence in the operation’s success.

Cultural loss

The stolen jewels are more than just expensive objects. They bear witness to the tastes and ambitions of French rulers, the art of 19th-century jewelers, and the political events that led to the fall of the monarchy and empire. Each object tells the story of its time.

The crown of Empress Eugénie embodies Napoleon III’s hopes for the restoration of France’s greatness after the revolutionary upheavals. Its creation for the World’s Fair was an act of political propaganda, a demonstration of the Second Empire’s might. Damaging this symbol is perceived as an insult to historical memory.

The diamonds and emeralds that adorn the crown have passed through the hands of kings and emperors. Some stones survived the Revolution of 1789, when most of the royal jewels were destroyed or sold. Those that survived became even more valuable precisely because of their rarity.

The return of stolen items will be a priority for the French authorities and the international art community. Experience shows that such crimes are often solved years later, when the perpetrators attempt to sell the loot. The market for historical jewelry is closely monitored, making it difficult to launder stolen goods.