From a jewel heist to crumbling galleries, it’s been a dire year for the world’s most visited museum. At least France has woken up to its predicament
Long before Versailles dazzled the world, the Louvre rose from the banks of the Seine as a royal residence. Charles V kept his celebrated library here; Henri IV installed his cabinets of paintings, objets d’art and arms, and created within its walls a veritable city of artists, where cabinetmakers, tapestry-makers, painters and armourers lived and worked. Under Louis XIII, coins, medals and the Louvre’s printing press were added; under Louis XIV came casts, antiquities and the academies of architecture, the arts and the sciences.
The Enlightenment demanded that the masterpieces of the art world be made public; the revolution answered. On 8 November 1793, ordinary citizens were admitted to the Louvre’s Salon Carré and Grande Galerie for the first time, transforming a royal palace into a national art museum. Continually evolving through redesign, reconstruction and reinvention, it has survived revolutions, arson and Nazi occupation. Within its labyrinthine galleries, audacious thefts have unfolded in broad daylight, while secret acts of bravery left barely a trace in history. The Louvre is a place of enduring mystery and fantasy, belonging to both France’s collective memory and the world’s imagination. This year, however, a succession of thefts, leaks and infrastructure failures has forced the French to look again at what the Louvre has become – and what it risks losing.
Agnès Poirier is a political commentator, writer and critic for the British, American and European press
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