The Louvre’s Gallery of Apollo, once the scene of a brazen art heist last year, has reopened its doors to visitors, though one priceless gem remains missing. The gallery, which had been closed since October 19, 2026, following the theft of eight royal jewels valued at €88 million, will welcome guests again on July 22, 2026. However, none of the stolen treasures will be displayed within its restored 17th-century interior. According to reports from French media, the reopening was confirmed by an unnamed source linked to the French press agency AFP. The source stated that the gallery would open on Wednesday, with Culture Minister Catherine Pegard expected to attend the event. Director Christophe Leribault told Le Parisien that all collections and valuable items previously exhibited there have been removed. He added that a secure room or vault, free from windows, will be created for non-stolen jewelry. “This is a major renovation project, and we need to find the right location and secure funding,” he explained. The heist took place during a white day in October 2026, when workers were dressed as laborers and used a crane truck to gain access to the gallery. The thieves managed to steal eight royal pieces, including a tiara and a necklace from the collection of Queen Marie-Amélie and Queen Hortense, both from the early 19th century. Among the lost items was the crown of Empress Eugenie, which sustained minor damage during the escape. It may eventually be fully restored. The stolen jewels remain unlocated, despite ongoing investigations. The heist shocked the world and exposed serious security vulnerabilities at the Louvre, the most visited museum in the world. Each year, nearly nine million people visit the museum, many drawn by the iconic Mona Lisa by Leonardo da Vinci. In May 2026, a parliamentary commission on museum safety in France warned that security concerns at the Louvre had been sidelined over recent years. This followed the 2026 heist, marking the first such incident at the museum since 1998, when a painting by Jean-Baptiste-Camille Corot was stolen and never found. The high-profile theft triggered internal turmoil at the Louvre. Staff staged protests, and in February 2026, the previous director, Laurence des Cars, resigned after just two years in the role. She became the first woman to lead the museum, established in 1793. Security measures at the Louvre have come under increased scrutiny since the incident. While the museum has taken steps to enhance protection, the lack of progress in recovering the stolen jewels has raised questions about the effectiveness of current protocols. The reopening of the Apollo Gallery serves as a symbolic step toward restoring public confidence, though the absence of the stolen gems remains a glaring reminder of the vulnerability of even the most prestigious institutions.
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RTV Slovenija (MMC)Estatal / públicoCentroVeracidad 85Objetividad 78hace 15 h El escenario del audaz robo de joyas del Louvre se reabre pero sin una sola joyaLa Galerie d'Apollon en el Museo del Louvre, que fue robada de ocho joyas reales por valor de €88 millones en octubre pasado, reabrirá a los visitantes el 22 de julio. Sin embargo, no se exhibirán joyas en la galería, que ha sido restaurada a su apariencia del siglo XVII. Los artículos robados aún no se han recuperado, y el director del museo declaró que las joyas se almacenarán de manera segura en otro lugar hasta que se asegure una ubicación y financiación apropiadas. El robo expuso importantes vulnerabilidades de seguridad en el museo más visitado del mundo, lo que llevó a crisis internas, huelgas de personal y la renuncia del director anterior.
Lectura del sesgo (Centro): El artículo proporciona una descripción equilibrada del evento, incluyendo detalles sobre el robo, la respuesta del museo y las implicaciones más amplias para la seguridad.
Por qué veracidad (85): The article reports on the reopening of the Louvre's Apollo Gallery after a theft incident, citing the value of the stolen jewels at 88 million euros. It mentions the restoration of the gallery's original 17th-century appearance and quotes unnamed sources and officials like Minister Catherine Pegard
Por qué objetividad (78): The article presents the situation neutrally, reporting facts from multiple sources including officials and media outlets. However, it uses emotionally charged language such as 'temno senco' (dark shadow) to describe the impact of the theft on the Louvre, which introduces a slight subjective tone. T
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