In recent weeks, the Louvre has once again become the centre of global media attention. However, this time, the world’s most visited museum, with 8.7 million visitors in 2024 alone, hasn’t been in the news because of a new exhibition, an acquisition, a renovation plan, or the appointment of a new director, but because of a heist that is destined to become one of the most iconic in art history.
How did the thieves do it? On Sunday, October 19, at 9:30 a.m., a four-member crew used a stolen truck with a basket lift to reach a window of the Galerie d’Apollon. Then, two crew members entered the gallery and used angle grinders and other tools to open the display cases. The grab inside the gallery lasted under four minutes, while the whole operation took about seven minutes. After leaving the museum, the thieves fled on motorcycles. Later, forensic teams retrieved helmets, gloves, tools and clothing that yielded exploitable DNA and trace evidence.
What was stolen? The Galerie d’Apollon was conceived and designed by Louis Le Vau for Louis XIV, using a sun-god theme that inspired also Versailles’ Hall of Mirrors. Nowadays, it is part of the museum and stages the French Crown Jewel collection, including the Regent, Sancy, and Hortensia diamonds (none of which were taken). To be stolen, according to the authorities, were eight items, spanning three dynastic sets. Two of the most important jewels, considering their value for the national French heritage, are an emerald necklace and a pair of emerald earrings of Marie-Louise, who was Napoleon I’s second wife. Another important stolen object, for its economic value, is a tiara of the Marie-Amelie & Hortense sapphire set that alone features 24 sapphires and 1,083 diamonds. A ninth piece, Eugénie’s crown, was quickly recovered since the crew lost, or possibly abandoned, it after leaving the museum.
What is the value of the loot? Prosecutors give to the eight stolen items a working valuation of €88 million, but underline that the figure excludes the heritage value of imperial jewels intimately tied to the Bonaparte era, the July Monarchy, and the Second Empire. Furthermore, experts warn that criminal networks often dismantle pieces, melting mounts and recutting gems, destroying their historical integrity forever, even if stones may resurface later.
Was this the first theft in Louvre history? No, throughout the museum’s long history some thieves have managed to escape the Louvre undetected. However, taking advantage of their positioning in less-visited and less-guarded areas of the museum, they have stolen items of lesser importance. The only case that goes against this trend is the theft of the Mona Lisa by Vincenzo Peruggia on August 21, 1911, with the painting only being recovered two years later when Peruggia attempted to sell it to a Florentine dealer. At the time, the theft resonated worldwide and significantly contributed to raising the Mona Lisa’s fame to its current level, making it a global icon. For this very reason, Peruggia’s theft is considered the most famous museum heist of all times.
Can the heist of 2025 be considered the art theft of the century? If you consider simply the economic component, the answer is definitely no. Indeed, since 2000, there have been at least three art thefts with the value of the loot estimated at more than €100 million. Topping this special ranking is the E.G. Bührle Collection in Zurich, Switzerland. On February 10, 2008, just before closing time, three masked gunmen entered the foundation’s museum, threatened staff, and, in a swift operation, removed four canvases and fled in a white vehicle. The stolen paintings belonged to Cézanne, Degas, Monet, and Van Gogh, with a total value of CHF 180 million (equivalent to more than €190 million). Eventually, the four paintings were recovered, as two were found a week later and two four years later, returning to the foundation’s collection. However, if we abandon the purely economic assessment and take into account other factors, such as media coverage, the Louvre theft seems to prevail.
Why did the Louvre heist attract so much attention? First of all, it’s important to note that it wasn’t a single factor that influenced the incredible publicity the theft received, but rather a combination of factors. That said, one of the main drivers was the museum’s notoriety: the Louvre is undoubtedly one of the most important cultural institutions on the planet, being the most visited museum in the world and housing some of the most famous masterpieces. Second, Paris is famous for being a city of art, but also of theft and detectives, as depicted in several films, including Lupin, to name one. A third important factor could be the fact that the stolen objects, being the French Crown Jewels, are unique pieces linked to well-known figures, especially in the case of Napoleon. Conversely, in the case of thefts of paintings, even those by popular artists, the emphasis on the uniqueness of the items is weaker, given that there are certainly other similar artworks by the same artist that can be seen. A final factor that shouldn’t be underestimated, as it played a key role, is the fact that the theft occurred in the era of social media: this allowed news and, above all, memes to spread rapidly across the world, reaching all generations.
In conclusion, given all the considerations made, it can be said that the Louvre Heist of 2025 can be seen as the art theft of the century. However, beyond the honorific title it has earned, this episode can provide interesting and useful food for thought. Indeed, it reminds us of how fragile cultural heritage is, thus emphasizing the need to protect it, not only after a sensational event like the theft we witnessed a few weeks ago, but consistently and with appropriate and sufficient means.
My name is Luca Buzzo, and I was born and raised in Genoa. When I was 18, after obtaining a scientific high school diploma, I decided to move to Milan to study at Bocconi University. Currently, I am pursuing a master's degree in Economics and Management in Arts, Culture, Media, and Entertainment (ACME). My interests span across multiple fields but the one I am most interested in are Visual arts, Culture and heritage, Museum studies, Asian studies (in particular China and Hong Kong), Social dynamics and Identity studies.
