Episode 19 - The 1887 Sale of the French Crown Jewels

The jewels of the French Crown were never just glittering ornaments. They were symbols of power, legitimacy, dynasty, and empire. For centuries, they adorned kings, queens, emperors, and empresses, surviving revolution, theft, exile, and war. But after the fall of Napoleon III in 1870, the new Republic feared that these treasures represented something even more dangerous: the possibility that France might once again embrace a monarchy.

In this episode, we uncover the extraordinary story of the 1887 auction of the French Crown Jewels, a sale that shattered centuries of history in the name of politics. From the bloody aftermath of the Paris Commune to the heated debates inside the National Assembly, the Republic set out to erase the symbols of royal power forever. Historic crowns were melted down, imperial settings destroyed, and priceless jewels scattered across Europe and America into the hands of royalty, Gilded Age millionaires, and legendary jewelers like Tiffany & Co. and Garrard.

We’ll step inside the packed Salle des États at the Louvre, once Napoleon III’s throne room, transformed into the most exclusive auction Paris had ever seen. We’ll follow the jewels themselves: the Regent Diamond, the emerald tiara of Madame Royale, Eugénie’s pearl tiara, the dazzling Grand Corsage Bow Brooch, and the infamous reliquary brooch containing Mazarin diamonds once worn by Louis XIV’s court.

This episode also traces the incredible journeys of the jewels that survived, the pieces painstakingly recovered by the Louvre over the last century, and the devastating 2025 theft that once again thrust the Crown Jewels into headlines around the world. Some pieces returned home after more than a hundred years in exile. Others may now be lost forever.

The 1887 sale was meant to destroy the memory of the monarchy in France. Instead, it became one of the greatest cultural tragedies in French history.

Welcome to the story of the jewels France tried to erase.

Transcript

SPEAKER_00 0:03

Bonjour, bonjour, and welcome to episode 19 of Paris in Blue Blanc Rouge with Claudine Hemingway. That's me. And today I'm excited to share an episode with you all about a very specific event that happened in Paris in 1887 that saw the demise of most of the crown jewels of France. That is until the other horrible event that happened seven months ago today, the theft of the crown jewels. But this was a systematic uh cleansing, we could call it, of the crown jewels of France, and not just the crown jewels, but lots of the jewels. Uh, but also hang on to the end of it because I have three new updates about stuff going on at the Louvre, including the theft and what we know a little bit more about what happened that day and some information surrounding uh the lead up to it and what was sadly ignored. So we'll jump right in here. So the fall of Napoleon III in 1871 also marked the end of the throne of France. No more kings, no more emperors, and the new government wanted to be sure it would never happen again. And what would inspire a young man to dream of royal power? Jewels, lots and lots of jewels. The political climate of the years after the fall of the last emperor was shaky at best. The Third Republic began on September 4th, 1870, but the descendant of Charles V and the monarchists still had their eyes on the prize, returning to the throne. There are still three descendants who believe that even today, that is for another day. I promise, Susan, she's been asking for this one for years. During the Siege of Paris by the Prussians and the Commune of 1871, the vast number of jewels belonging to the crown and the former rulers were moved from Paris for safekeeping. On August 10th, 1870, the jewels were placed in a box labeled Assembly Crates, Special Projectiles, and hidden on a boat off the coast of Brest. Returning in 1872, they fell under the protection of the Ministry of Finance, which just so happened to be located in the Palais de Louvre, which is the Richelieu Wing today. The events of 1870 and 1871 took a massive toll on Paris and the rest of France. In Paris alone, government buildings, including the Hotel de Ville, the Palais de Tuileries, the Palais d'Orsay, and many on the Rue de Rively were destroyed during the bloody week of May 1872. The country was running out of money and needed to rebuild the government. In 1875, with the jewels locked away, it was decided they needed a full inventory. The last one was done in 1832 under the reign of Louis Philippe, and if you listened to the first episode of the podcast, you know that Napoleon III added quite a few gems to the royal jewelry box. What the Ministry of Finance had in its possession far exceeded the property of the crown in 1875. Many of the pieces were retained after the hasty escape of Napoleon III and Eugenie later on and would return to the Empress in cash. In 1875, the inventory totaled 77,486 gems that included diamonds, pearls, emeralds, amethysts, opals, turquoise, rubies, and topaz, worth a vast fortune, one the country could really use. As early as the 18th century, the revolutionists wanted to sell the crown jewels and their wish to rid France of anything associated with the monarchy, but the massive theft from the Garde de Mauble in 1792 helped them save many of the jewels that were recovered. In 1848, Francois Vincent Respie ran in the election for the very first president of France. He was overwhelmingly defeated by Louis Napoleon, later known as Napoleon III. The same year, he encouraged anyone who would listen that the jewels needed to be sold. Incredibly outspoken, he served time in prison, and upon his release, he and his family were exiled to Belgium. In 1876, his son Benjamin was elected as a French deputy for the Sin. In 1882, he once again took up the family cause of destroying the jewels of the crown, just as the last ruling emperor destroyed his family. Benjamin Respy took it a step further and wanted everything melted down, sold, or destroyed, and the money used for social causes. In 1878, the jewels returned to the Universal Exposition one last time. Many of the jewels that once belonged to Napoleon III and Eugenie were created for the 1855 exhibition. A special designed octagon shaped case was created with eight compartments covered in red velvet. The case was equipped with a winch and the jewels sat on an iron plate that would be lowered into a reinforced stone basement, equipped with an alarm system that would warn of a break-in or any sudden strikes. The case was topped with a red and gold canopy designed to resemble the custom leather box that held each of the jewels. A few of these boxes were on display in the gallery d'Apalon prior to the theft. Not to be outdone, the British brought a few of their own crown jewels, including the infamous 105 carat oval Collinore diamond that was set in the tiar of Queen Victoria. The last time, or so they thought, they'd be viewed by the public was on May 31, 1884, in the Salle des États on the benefit for the School of Industrial Arts. Hundreds of people lined up three hours before the event opened to see the crown jewels. The clamor to see these treasures also led to their demise. The far right politicians took it as a warning side. If the people wanted to see the jewels, what would stop those in hopes of returning to power? The president of France, Jules Grevé, and his advisors became increasingly aware that they needed to rid themselves of these gems, which meant much more than just an exquisite necklace or brooch. There were, of course, other political agendas pushing the sale and deciding where the money should go, and everyone involved had their own agenda. Each year it was proposed before the National Assembly and the Senate, but didn't reach a majority and was shelved until the next year, until 1886. On December 7th, 1886, the law was passed and that the jewels be put up for auction. When the announcement was made, it brought a mix of reactions from royalists, historians, and of course wealthy collectors. In 1882, inspection of the jewels resulted in a plan on what, if any, jewels would be kept and where. The rest would be sold or melted down to avoid becoming a focal point for those seeking their return to the monarchy. Group A included the items that would be kept and displayed in the Louvre. Group B included those transferred to the National History Museum and the School of Mines. And group C, those items would be intended to be cast. The official proclamation for the alienation of a portion of the crown jewels dated January 11, 1887, stated that the diamonds, precious stones, and jewelry forming part of the collection known as the Crown Diamonds and not listed in Schedules A, B, or C shall be sold at public auction. To prepare for this sale, many of the historic settings were torn apart, melted down, and destroyed, destroying any significance they once held. A community of jewelers and historians was outraged with this idea of the sale and the loss and destruction of such an important heritage. A letter sent to the Ministry of Finance asked that this would be reconsidered, and if it wasn't an option, then high quality photos to be taken of the pieces before they were destroyed or sold. Luckily, they took some pictures, but not of every single item. The sale would be held in the Sal Desat in the western end of the Denon Wing above the Seine, where the Spanish painting collection is today. The location held its own political weight. The room of state under Napoleon III served as this throne room. What better place to send a message and to sell the items that set the monarchy apart from the French population in the very room the last emperor ruled from? Side note, that's the same room that later held the twenty four paintings of the Medicine cycle done by Rubens in their beautiful gold frames hanging on red leather covered walls. Before the sale it was decided to open the collection to the public. It was opened from April 21st to May 8th for previews by the major jewelry houses that had sent representatives to buy on their behalf, government officials, and the general public. It's figured that 6,000 people came each day to view the jewels on display before the auction. The auction itself was the most coveted invitation in Paris. Beginning May 11th, the Salle des Etats was transformed for the auction itself. Platforms for the auctioneer, chairs for the audience, and a table for the inspector of the jewels who would weigh and verify each purchase. The same display cases that was created for the universal exhibition was reupholstered in thick blue velvet by Monsieur Girardon. The cement basement used to safely store the jewels was built into the floor. The security was incredible, involved the prefecture, the gendarmes, and the staff of the Louvre. The security of 1887 was a little bit better than that of 2025. The walls were covered with Gobelins tapestries once created under the Bourbon Kings, although they didn't seem to be upset about that. At exactly 2 p.m. on May 12th before a packed house, the auction began with the auctioneer Eugene Escribe calling the items. Jewelers from all over Europe and America came to bid on items for themselves and their wealthy clients. Jewelers representing the royalty of Europe, including England, Germany, and the Habsburgs of Hungary. Sitting alongside was every Parisian jeweler and a few from the Bass Brothers who wanted to purchase the pieces their earlier generations created for the crown. All sales had to be paid in cash within 48 hours of the sale, or the lot went to the runner-up. Sold over nine sessions, a few exceeded the asking price, but many fell far below. Had these items been sold today, they would each go for millions and millions of dollars, especially if kept intact. Louis Comfort Tiffany purchased a third of the lot, spending more than 1.4 million francs, including four Mazarin diamonds. Many items were intended for the new money Americans of the Gilded Age, like Catherine Pulitzer and Cornelia Bradley Martin, the Countess of Craven, and Marjorie Merriweather Post. Girard, the jeweler of the British Crown, was there on behalf of Albert, the Prince of Wales, known as Dirty Birdie here in Paris for his debauchery. Girard won lot 32, the Russian tiara, created by the Maison Basta for Eugenie for 180,000 francs that he purchased for the prince. Another British jeweler, Bonnier, purchased a lot of seven ongliettes and culos in the style of Marie Antoinette that was created for the Empress Eugenie that included 222 brilliant cut diamonds by Bast for Queen Victoria for the bargain price of 25,100 francs. The government officials in charge of the sale labeled it as a triumphant success, but it was anything but. After covering expenses, they raised 6,927,509 francs, which is around 15,982,117 euros today. Just one of those pieces attached to Marie Antoinette was sold for more than that at auction. In 1895, funds were allocated to the Old Age Pension Fund and the Reunion des Musées National, which was founded that same year. The items given to the Louvre included the Regent Diamond, the Sword of Charles V, which was later stolen in 1976, the Pearl Dragon, the Watch of Algiers, and the Cote de Breton Ruby, which I'm going to do a whole thing about coming up, and also the reliquary brooch that was stolen on October 19th, 2025. The list of things that went to the Ecole de Mines and the National History Museum is quite lengthy, and I'll have all of that on my website. But don't try to go to any of these places to find any of these things because nothing is on display since the theft at the Louvre. The National History Museum and the École de Mines took everything that was associated with the crown off display for safekeeping, and we're not sure when those are going to come back. Some of the items that were melted down included the hilt of the swords of Louis XVIII and the Dauphin, and as well as the imperial crown of Napoleon III. Of the Emperor's crown, the cross on the top, and the remaining diamonds were sold in 1887. The frame was broken, sent to the Monet to be melted down and used for the twenty franc coins of the Republic. More on that crown in the episode first episode of the podcast. Since the theft of the jewels from the Louvre on October 19th, 2025, the term crown jewels has been repeated millions of times. Technically, only one of the eight stolen pieces could be called a crown jewel. The reliquary brooch created for Eugenie included two of the Mazarin diamonds that was given to Louis XIV after the cardinal's death in 1661. The 1887 sale was the destruction of France's history. The true pieces labeled crown jewels would have been worn by multiple kings, queens, emperors, and empresses. Luckily, the regent, the most historic of them all, was saved, although Respie wanted it sold. Since the sale, the Louvre has done all it could to find and return many of the pieces to France. The one rule they must follow is that they have to be set in their original settings prior to the sale. Since 1973, seven items sold in the auction have returned to the Louvre, with five of those in just the last twenty five years. Sadly, two of the pieces that have been stolen on that morning seven months ago today. In 1973, Paul Nicolas Menniere redesigned a set of ruby bracelets for the Duchess d'Angoulême, the daughter of Marie Antoinette. The rubies originally belonged to the Empress Mary Louise, Napoleon's second wife. Joule Jacques Bast used 24 rubies, 451 brilliant diamonds, and 60 rose cut diamonds. The set also includes a diadame, a necklace, a comb, a crown, earrings, bracelet, and a belt. They were sold on May 20th in lot number 45 for 42,000 francs to Tiffany's, who bought it on behalf of Bradley Martin for his daughter Cornelia, the Countess of Craven. Later sold at Sotheby's on November 30th, 1961 and donated to the Louvre in 1973. Two of the bell pieces also belonged to the Louvre. The 44 pieces were sold in lots of two, four, or six plaques. The first was purchased in 2019, the second in donation in 2025 by Sabine Ferrare Dubrac. Lot number 37 was a complete set that once belonged to Marie Louise and had been a gift from Napoleon to his new bride in 1810. Francois Nito designed the very delicate and exceptional gold leaves with clusters of grapes separated by ten small glass mosaics of ancient Roman ruins. Pierre Antoine Chadot worked with Nito on the fine details of the set, which included a comb necklace, earrings, and two bracelets. The mosaics created in Rome from the engravings by Domenico Pronti depicts many Roman ruins, including the Forum. The original lot also included two amethysts and a diamond dress clasp and belt pieces. After Mary Louise fled France following Napoleon's expulsion, the jewels were returned to the government and sold in Lot 37 to the jeweler Henri Bain for 6,200 francs, who kept them in their original state. They were sold again in 1964 and in 2001 when purchased by the Amy de Louvre and entrusted to the Louvre collection on June 7, 2001. Placed on the southern end of the central case that was breached in the theft, they were within reach, but the thieves must not have thought they were worth very much as the emeralds and sapphires. Thank goodness. Another item once owned by the daughter of Marie Antoinette was the beautiful emerald and diamond tiara created by Christopher and Jacques Bast from a family of jewelers dating back to Louis XV. The tiara was also worn by Empress Eugenie. Sold on May 14th to the Hungarian jeweler Bacharouche for Count Andres, it stayed in the family until sold at Sotheby's in 1954. It arrived at the Louvre in 2002 when it was purchased by the state. Another piece is a beautiful diamond and pearl brooch created in 1853 for the Empress Eugenie, narrowly escaping the theft. Designed by our personal jeweler Francois Cremer, it was inspired by the designs of Gilles Legarde in 1663. After the death of Madame Royale in 1851, her diamond and pearl set was dismantled and repurposed. A tiara containing 212 pearls and 1,998 diamonds was born from this original jewel, the same tiara that was stolen on that horrible morning. The remaining diamonds and pearls were used to create five brooches. Two large button pearls surrounded by eight diamonds formed two rosettes. Two pear-shaped pearls hang from the delicate scrolls covered in diamonds at the top rosette and three from the lower. The five brooches were sold on May 17th in lot 39 to the Baston Sons jewelers, who had also made other pieces for the Empress. It belonged to Marie-Louise de Bourbon-Parme in the daughter of Clementine d'Orleans. In 2015, it was purchased and returned to the Louvre. The brooch was located next to the Pearl and Diamond TR in the first case, but was not stolen. From the video footage, it looks like it might have been out of reach, but also odd that it wasn't grabbed in their hasty attack. The last two items that have returned after the 1887 auction that destroyed the heritage of the crown jewels met the same fate on October 19, 2025. The stunning pearl and diamond tiar created for Eugenie by Alexandre Gabrielle Le Monnier, who also created the Imperial Crown, which was luckily recovered. It was commissioned in 1853, shortly after the wedding to Napoleon III. Designed using many of the crown pearls from a set that once belonged to the Duchess d'Anguilleme, Madame Royale. Le Monnier's contemporary design of the time features natural elements, including diamond-covered leaves and 17 pear-shaped pearls, totaling 212 pearls and 1,998 diamonds. Eugenie wore it often, including the opening of the 1855 Universal Exhibition, where her other jewels, including the Imperial Crown, were on display. The tiar was sold in lot 41 on May 12th, but to the jeweler Julius Jacobi for 78,100 francs, who sold it to the Prince Albert of Town and Taxi for his wedding to the Archduchess Marguerite. For over 100 years it remained in the family until it was sold at Sotheby's in 1992 and purchased by the Amida Louvre. The last piece was the first violently grabbed from the case on that Sunday morning. I always loved getting as close as I could to the glass to take in every detail of this gorgeous brooch, literally covered in diamonds. This jaw-dropping item was the Grand Corsage bow brooch of Eugenie. Napoleon III ordered the four pieces from Francois Cremer for the Universal Exhibition, although the piece was originally designed as a belt with the bow and tassels at a staggering 4,790 diamonds, totaling 386 carats. Eugenie loved the history of Marie Antoinette, and the bow was designed to emulate the fashion of the former queen and her love of bows and ribbons. The bow was sold in Lot 5 on the first day of the sale on May 12, 1887, and purchased by the jeweler Emile Schlesinger for Carolyn Astor. In 1902, it was sold to the Duke of Westminster for his daughter, Lady Latisse Grosvenor. It passed through the many hands until purchased on April 16, 2008 by the Amida Louvre with a large bequest from Mr. and Mrs. Raffouet. Sadly, we may never see the Tiara or the Beau Broach again. In the last few weeks there has been a lot of news regarding the Louvre. On May 7th on French TV, the documentary show Complement Don Quiette add a few nuggets of information. A full viewing of the theft from their entry to escape takes the crime down to three minutes and nineteen seconds, faster than originally thought. Nine seconds after entry, they were cutting into the first case, and at two minutes and eleven seconds they had the jewels of Eugenie in hand. At two minutes and thirty-eight seconds, the second case was breached. At 255, the crown was dropped in the gallery, picked up, and they were out the window at three minutes and nineteen seconds. Since the arrest, the thieves have told a few stories of the people they say approached them, one with a Slavic accent, the other with a Moroccan accent. Later, they were caught talking between their cells, trying to match up their stories. One said, I said, like we said back in the neighborhood, that I didn't know it was the Louvre and I was forced. The four all have pass arrests, but might not be the patsies they have been portrayed to be. Investigators now questioned that they, in fact, might have acted on their own and acted together, and there is no evidence of foreign influence. After the theft, news of the 2019 Van Cleave report, which described the kind of theft to a T was released. The report's author, Jean-Louis Monier, was on the program and said he mentioned the balcony's vulnerability seven times across 18 pages. He also said the glass on the outside windows should be replaced and that infrared barriers should be added outside to detect the slightest movement. Neither was done. The report itself is at the center of much finger pointing between former ministers of culture and two former presidents of the Louvre, with most saying they didn't know anything about it. Rosaline Bachelot, Minister of Culture from 2020 to 2022, and at the time of the hiring of Laurence Descartes, said it's not the job of the president of the Louvre, who was Jean-Luc Matnez at the time of the report, to disclose it to the minister. In the end, nobody wants to own that very, very big mistake. The other big news on May 13th came nearly seven months in the making. A report compiled by the National Assembly and led by Alexander Partier, who conducted 20 hearings since the theft and interviewed more than 100 people, including the former director. Laurence Descartes multiple times. The report was compiled by Alexis Corbier and points out forty recommendations that the Louvre and National Museum should adopt. The systematic failures of the Louvre stem from the lack of priority given to security and safety. The Louvre has been run like a state within a state. The museum falls under the Ministry of Culture and needs approval for budgets, etc., and runs to them in a crisis. But like any government entity, they want to blame them for things when convenient. This was very evident in the documentary as well. A big complaint by the staff for the last two years has been visiting the Louvre is like an obstacle course. The report founded that of the 244,000 square meters, only 70,000 square meters are open to the public. Even when the Daily Map shows sections should be open, they are in fact closed. I could personally attest to this fact. Recently I tried for the upteenth time to visit the second floor of the Sully Wing, which houses the collection of the French paintings. Normally I'm completely alone with the guards. I gave it a shot and saw how far I could go. The guards stopped to tell me the rooms were actually opened. We laughed and I was very happy that they were finally opened, but that was the first time in over two months. Recently I was in the Vlu visiting the Rubens Medici cycle one last time before they go under renovation for four years, and a group of guards was having a meeting. A security member was reviewing the protocols for the new radios that every guard will now have in their possession. The lesson included always using the formal VU form when talking on the radio, being very polite, and ending each call with I'm finished. The additions of radios will help the guards respond more quickly to any issues, whether medical, a disturbance, or theft. Normally, as on October 19th, they have to run to the nearest staff phone. Cell service in the Louvre area, both inside and out, is horrible, and in many places the signal goes completely dead. Also, hot off the press, just yesterday, the Minister of Culture announced at 10 a.m. on May 18th that the winning architect for the Louvre Nouvelle Renaissance project that was first soft launched in January 2023 by Laurence Descartes on French radio. Two years later, it was presented in the Salle des États in front of the Mona Lisa on January 25th, 2025, by President Macron, and the press ran with it like it was a brand new idea. The project would create a new space for the Mona Lisa as well as a new entrance below the eastern end of the Colonnade to help alleviate the pressure on the pyramid, which, as we know from episode 16, the pyramid was created to handle 4 million people a year, and now the Louvre gets 10 million. A second exhibition space is also planned along with a restaurant and gift shop. The project was originally said to cost 400 million euros for the Mona Lisa space and 400 million euros for the entrance. The Court of Auditors released its report in November stating that the project would cost more like 1.1 billion euros and that it should be shelved. Well, we got a little surprise yesterday when the announcement of the architects, as well as a new amount of 600 million euros. The panel of 21 judges, including the new Louvre president, Christophe Laribot, Paris Mayor Emmanuel Gragoire, and Minister of Culture Catherine Perigo, my favorite is that they've also included Li Chung Pei, the son of I Am Pei. The winning project was submitted by New York Studio Architecture Paris, and New York-based German Seldorf Architect was selected for their quality of its architectural proposal and its heritage, urban and landscape integration, fully integrating the issue of public reception, quality, clarity of the past, sobriety, and vegetation, all with a relevant consideration of security issues, said the ministry in a statement. The president of the Louvre, Christophe Liabeau, said two weeks ago, we are not going to make a good entrance to arrive in a museum subject to all kinds of damage and embolism. But we cannot repair the Louvre without opening new access points to address the flow issue. The Louvre is a whole. His construction site is a hole. It is imperative to review the infrastructure, redo the roofs, and technical installation in the perimeter of the Corcaret. The Louvre Nouvelle Renaissance is a capital and necessary project for the Louvre. The winning architectural firm studios included two entrances on either side with a sloping ramp along the edges and the center filled with green space and contemplation. Sure, guys, that's not going to happen. The new access will allow visitors to go directly to the Mona Lisa, which will require a separate time ticket at no additional cost. When 90% of the visitors each day come to see the Mona Lisa, you are just changing one choking point for another. The pyramid will then become the ideal entry for everyone else. The start of construction might not be until 2028, with a portion of the money coming from the January 2026 increase in price for foreign visitors, as well as 150 million euros from the state project. But a lot more is needed. It will take at least five years to finish. The mayor of the Central District, Ariel Vay, was a little disappointed at saying that it looks like endless concrete walls. You could check out some of the photos on my website, ClaudineHemingway.com. It is needed, but the project will also destroy a large part of the Egyptian collection rooms, especially with the addition of a new double entrance. I'll be following this very closely and keep you all up to date. Like I said, I think it is really needed, but I think that they need to fix a few other things before they should start this, like the floor of where my beautiful library is that is right above the Campana collection rooms that has been closed now since November. You have uh spaces in the Louvre that have leaks. Uh, you have areas that should be open or not. I think that there's a lot of infrastructure. They need to be fixing not only that, but the technical installation of new cameras, which there have been some new cameras installed on the outside, especially on the send side, which is where the theft was. But um, you know, it's it's a massive location, it's a huge undertaking, and of course, you can't do all of it, but I really think in the light of everything, they should fix some things before you open a new section because you can't even staff the area that you have, and that is why some of those rooms are closed, even when they're supposed to be open, because of staffing issues. And so if you don't want to uh hire and train more security staff, I don't think you should be expanding the Louvre anymore and having it cost 1.1 billion euros. Anyway, I'll keep a close eye on this, of course, and I'm gonna go around the outside uh and make a little video and I'll put some pictures and everything up of what the project is going to look like and what that space looks like right now. Um, but sadly, the a lot of the Germ of the German, the Egyptian collection is going to be um displaced, especially in that whole entire lower section. Um, and a lot of it is very, very heavy stone sculptures that have to go on a lower level and cannot go up any higher in the building. So we will see what happens, but like I said, I'll keep a close eye on it. And make sure to check my website, ClaudingHemiway.com. And if you're coming to Paris anytime soon and you need help planning your trip, or you want to do a walking tour when you're here, make sure to contact me and we'll get it all set up. Thanks all.