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Roderick Cooke, PhD, French and Francophone Studies Professor, Shares Thoughts on Louvre Heist, Artifacts Stolen

Oct 30, 2025

4 min

On Sunday, October 19, at 9:34 a.m., four masked individuals surged into the Louvre’s Galerie d’Apollon from a severed, second-floor window. Hurriedly, they smashed open two display cases, seized eight pieces of jewelry, then shimmied down a ladder and sped off on motorbikes toward Lyons. In seven minutes’ time, in broad daylight, they absconded with an estimated $102 million in valuables from the world’s most famous museum.


This past Saturday, October 25, French authorities announced the first arrests in connection with the daring heist. However, despite the police’s progress, the country continues to litigate the matter—embroiled in discussions of heritage, history and national identity. Recently, Roderick Cooke, PhD, director of French and Francophone Studies at Villanova University, shared his perspective on the situation as well as the artifacts lost.


Q: The Louvre heist has been described as “brazen,” “shocking” and a “terrible failure” on security’s part. Is there any sort of precedent for this event in the museum’s history?


Dr. Cooke: Nothing on this scale has ever happened to the Louvre since its founding as a museum during the Revolution. The closest equivalent is the 1911 theft of the Mona Lisa by a former employee who claimed it should be returned to Italy. However, that was one painting, the heist was not committed by organized crime, and the Mona Lisa did not have the renown it enjoys today. The impact of the theft was thus lower, although it did cause major outrage and a sweeping law-enforcement response at the time. Ironically, that theft is often credited with making da Vinci’s painting the global icon it continues to be.


Q: What has the reaction to this event been among the French people?


DC: It’s harder to get a sense of reactions across French society, because so much of the aftermath has focused on the intellectual milieux’s opinions. And in those realms, it has immediately become a political football. Individuals positioning themselves as anti-elite or anti-status quo, such as Jordan Bardella of the National Rally party, have called the theft a “humiliation,” immediately tying it to French national prestige. Former President François Hollande has conversely and vainly called for the event to be de-polemicized, citing national solidarity.


This is happening because the Louvre is one of the most visible manifestations of French soft power—the most-visited museum anywhere on Earth. As such, anything attacking its integrity becomes an attack on the nation, and how individual French citizens feel about the theft is closely tied to their broader view of the nation.


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Q: Several of the items stolen from the Louvre once belonged to Empress Eugénie. Could you share a bit of information on her story?


DC: Eugénie de Montijo was a Spanish aristocrat who married the Emperor of the French, who ruled as Napoleon III between 1852 and 1870. It was a time of authoritarian repression and sham democracy—Napoleon III installed the Empire through a coup. Its clearest legacy is that Paris looks the way it does today largely because of the thorough modernizations overseen by Napoleon III’s appointee Baron Haussmann.


So, Eugénie and her now-lost jewels represent a complex point in French history, when culture and the economy developed quickly, but did so in a climate of fear for any French person who opposed the regime too loudly (like Victor Hugo, who went into exile on the Channel Islands and wrote poems savaging Napoleon III and his deeds). Some accused the Empress of being responsible for the more hardline and conservative stances taken by her husband’s government. On a different note, she was a diligent patron of the arts and arguably the most significant figure in the contemporary fashion world, famous for setting trends such as the bustle that radiated across Europe.


This explains the mix of anger and admiration that followed her depending on the sphere she was operating in. A new English-language biography argues that far from being a traditionalist, she was a pioneering feminist by the standards of the time. It looks like her historical importance will continue to be debated.


Q: Interior Minister Laurent Nuñez described the stolen items as “of immeasurable heritage value.” How significant of a cultural loss do you consider this theft?


DC: These jewels are referred to in French as “les Joyaux de la Couronne” (the Crown Jewels), but of course that phrase lands very differently in republican France than it does across the water in the United Kingdom. The items actually represent several different dynasties of French rulers, some of whom came to power through direct conflict with others. The now-ransacked display at the Louvre smoothed over these historical divisions, for which many French people died over the centuries. President Macron referred to the stolen items as embodying “our history,” which is emblematic of the French state’s work to create a conceptual present-day unity out of the clashes of the past. At a time when France is arguably more divided than at any point since World War II, any unitary symbol of identity takes on greater significance.


Q: Do you have any closing thoughts on the artifacts taken and what they represent?


DC: I’d reemphasize the previous point about the smoothing effect of the museum display on the violent history that made it possible. Much of the reporting on the stolen jewels lists off the different queens and empresses who owned them, without giving readers a sense of the complicated succession of regime changes and ideologies that put those women in power in the first place. The relative stability of the last 60-odd years is an anomaly in modern French history. This set of jewels and the names of their original owners may seem far removed from the concerns of an ordinary French citizen today, but just beneath their surface is a legacy of changing governments and tensions between social classes that survives in new forms in 2025.

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