A major fire has destroyed much of the historic Teatro Sannazaro in Naples, officials confirmed on Tuesday. The blaze, believed to have started in a nearby apartment block in the Chiaia district, quickly spread to the 19th-century wood-framed theatre. Flames caused the domed roof to collapse and severely damaged the ornate interior, including its plush seating and gilded boxes. Fire commander Giuseppe Paduano said only limited parts of the structure remain, with crews working to extinguish lingering hotspots as investigations into the cause continue.
Residents reported heavy smoke blanketing the neighbourhood from early morning, prompting the evacuation of 22 families from surrounding buildings. Four people were hospitalised due to smoke inhalation, though no deaths or serious injuries have been reported. Naples Mayor Gaetano Manfredi described the destruction as “a great sorrow” and “a deep wound” to the city’s cultural heritage, noting that early indications point to an accidental cause.
Opened in 1847, the theatre has long been a cornerstone of Naples’ cultural life, hosting renowned Italian actors and playwrights and staging a mix of classical music and theatre productions. Authorities have pledged support for reconstruction efforts, with both local and central government expected to assist. Italy has previously rebuilt iconic venues lost to fire, including La Fenice in Venice and Teatro Petruzzelli in Bari, both of which were destroyed by arson and later restored.
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The Louvre Museum has said the crown of French Empress Eugénie was left badly crushed but largely intact after it was dropped by thieves during a high-profile jewellery raid last October. Although raiders stole jewels worth an estimated €88 million, they abandoned the diamond-studded crown on their escape route. The museum has now released the first images of the damaged crown, confirming it can be fully restored.
According to the Louvre, the 19th-century gold crown was deformed when thieves attempted to pull it through a narrow hole cut into its glass display case. While one of the eight golden eagles adorning the crown is missing, it still holds all 56 emeralds and all but 10 of its 1,354 diamonds. Museum officials said restoration can be carried out without reconstructing the piece, under the supervision of an expert committee led by Louvre president Laurence des Cars.
The raid took place on 19 October, when thieves used a stolen vehicle-mounted lift to access the Galerie d’Apollon from a balcony near the River Seine. After cutting through a window and threatening guards, the gang broke into two jewellery cases and escaped within four minutes on scooters. Four suspects have been arrested, though authorities say the mastermind remains at large and several other stolen royal jewels have yet to be recovered.
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Germany has returned two small fragments of the Bayeux Tapestry to France, more than eight decades after they were taken during the Nazi occupation in 1941. The pieces of unembroidered linen were discovered in the state archives of Schleswig-Holstein in northern Germany, where historians were reviewing the collection of German textile expert Karl Schlabow, who is believed to have removed them while researching the tapestry under a Nazi-led project.
Archivists identified the fragments during a 2023 inventory, finding them preserved on a glass plate along with documents that helped trace their origin to the Bayeux Tapestry. Rainer Hering, head of the archive, said it was “obvious” the fragments had to be returned, and formally handed them over to the mayor of Bayeux on Thursday. The fragments are thought to have been taken from the underside of the famous embroidery, which depicts the Norman conquest of England in 1066.
The return comes amid renewed attention on the 11th-century tapestry, which is scheduled to be displayed at the British Museum in September under a loan agreement between France and the UK. The move has sparked controversy, with critics warning the fragile artefact should not travel. Despite concerns raised by artists and historians, the British Museum has pledged to safeguard the tapestry, which is insured for £800 million and has been listed on Unesco’s “Memory of the World” register since 2007.
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Bulgaria has unveiled its new euro coins, showcasing key symbols of its cultural and historical heritage. The designs feature motifs already familiar from the lev, Bulgaria’s currency since 1881, named after an archaic word meaning “lion.” The coins will circulate starting Thursday, marking the country’s official adoption of the euro.
The one, two, five, 10, 20, and 50-cent coins depict the Madara Rider, an ancient rock relief from the early eighth century near Madara village. The relief shows a knight triumphing over a lion and is recognized as a UNESCO World Heritage site since 1979, reflecting Bulgaria’s early statehood and artistic legacy.
The one-euro coin honors Bulgaria’s patron saint, John of Rila, founder of the Rila Monastery, while the two-euro coin features Paisius of Hilandar, an 18th-century monk whose writings were pivotal in Bulgaria’s national revival. The edge of the two-euro coin carries the inscription “God protect Bulgaria,” highlighting the country’s spiritual and historical pride.
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Starting February 1, tourists who wish to step onto the stone steps surrounding Rome’s iconic Trevi Fountain will be required to pay a two-euro fee, Mayor Roberto Gualtieri announced on Friday. The new measure aims to manage tourist crowds more effectively while generating an estimated 6.5 million euros annually. Residents of Rome will continue to have free access, while the surrounding square offering views of the fountain will remain open to all.
The Trevi Fountain, completed in 1762, is a late Baroque masterpiece featuring Oceanus, the god of all water, and symbolises the moods of seas and rivers worldwide. Known for the tradition of tossing coins to ensure a return to Rome, the fountain has drawn millions of visitors each year, including world leaders. This year alone, it has already received nine million visitors, highlighting the challenge of overcrowding that the new fee aims to address.
The move is part of a broader trend in Italy to monetise cultural attractions. Alongside the Trevi Fountain, five lesser-known sites in Rome will begin charging five euros for entry starting February. Similar initiatives have been introduced in other Italian cities, including Venice, which charges peak-season entry fees, and Verona, where visitors must pay to access Juliet’s balcony, reflecting the growing effort to maintain and profit from the nation’s historic sites.
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Italy’s iconic food culture, from pasta and pizza to regional dishes like risotto and orecchiette, is on the brink of global recognition as UNESCO’s “Intangible Cultural Heritage.” A UNESCO panel has recommended adding Italian cuisine to the prestigious list, with the final decision expected on Wednesday. The bid, launched in 2023 by Italy’s agriculture and culture ministries, highlights food as a social ritual that fosters community bonds, rather than merely a set of recipes.
Prime Minister Giorgia Meloni supports the move, calling Italian cuisine a symbol of national identity and strength. Industry experts say UNESCO recognition could boost Italy’s tourism by up to 8% within two years and reinforce its global culinary presence. Italian gastronomy not only connects 59 million residents but also up to 85 million people of Italian descent worldwide, despite the challenges posed by imitation products costing Italy billions each year.
However, critics argue the bid is more about marketing than cultural preservation. Food historian Alberto Grandi claims that many “traditional” Italian dishes are influenced by foreign cultures or are relatively modern inventions, sparking backlash from farmers’ groups defending the country’s culinary roots. For chefs and restaurateurs, however, a UNESCO nod would be a cherished tribute. As Michelin-starred chef Massimo Bottura puts it, “Italian cuisine is an ancient, daily, sacred ritual — the art of caring and loving without saying a word.”
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France’s Louvre Museum has closed its Campana Gallery after a structural assessment revealed severe weaknesses in beams supporting the Sully wing. The gallery, which showcases Greek vases and includes office spaces, dates back to the 1930s and was shut less than a month after a high-profile daylight heist exposed security vulnerabilities at the world-famous museum.
According to the Louvre, the technical report made it necessary to immediately close the first-floor gallery and relocate 65 staff members working above it. Union representatives said employees had long raised concerns over the ageing building, but were surprised by the extent of deterioration now confirmed.
The closure comes as the museum faces scrutiny over its management practices. A recent auditor’s report criticised the prioritisation of art acquisitions and post-pandemic projects over infrastructure and security upgrades. The investigation into last month’s $102 million jewel theft—carried out using a lift, broken windows, and motorbike escape—remains ongoing. The Louvre, originally a royal palace built in the 12th century, continues to grapple with balancing heritage preservation and modern safety demands.
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A leading art museum in Switzerland, the Kunsthaus Zurich, has announced the removal of five paintings from its exhibition for investigation into whether they were looted by the Nazis. These artworks are part of the Emil Bührle Collection, which includes pieces by renowned artists such as Claude Monet and Vincent van Gogh. The collection is named after Emil Bührle, a German-born arms dealer who profited during World War II by supplying weapons to the Nazis.
The investigation follows the release of new guidelines to address the restitution of cultural artifacts that were never returned to their rightful owners after being stolen during the Nazi era. The paintings under scrutiny are Monet’s “Jardin de Monet à Giverny,” Gustave Courbet’s “Portrait of the Sculptor Louis-Joseph,” Henri de Toulouse-Lautrec’s “Georges-Henri Manuel,” Vincent van Gogh’s “The Old Tower,” and Paul Gauguin’s “La route montante.”
The Emil Bührle Collection foundation board stated its commitment to finding a fair solution with the legal successors of the original owners, adhering to best practices. Another painting, “La Sultane” by Edouard Manet, is also under examination but will be handled separately as the foundation does not believe the new guidelines apply to it. The foundation has expressed willingness to offer financial compensation to the estate of Max Silberberg, the former owner, who was a German Jewish industrialist. Silberberg’s extensive art collection was sold under duress by the Nazis, and he is believed to have been murdered at Auschwitz.
Earlier this year, more than 20 countries, including Switzerland, adopted new best practices from the US State Department for handling Nazi-looted art. These guidelines were introduced on the 25th anniversary of the 1998 Washington Conference Principles, which aim to facilitate the restitution of stolen or forcibly sold items. These principles are crucial for families seeking to recover looted art, as Swiss law prevents legal claims for restitution or compensation for works from the Bührle collection due to statutes of limitations.
Stuart Eizenstat, the US Secretary of State’s special advisor on Holocaust issues, highlighted that an estimated 100,000 out of 600,000 stolen paintings, along with many books, manuscripts, religious items, and other cultural objects, have not been returned. Up to his death in 1956, Bührle amassed around 600 artworks, many of which are managed by the Bührle Foundation and have been on loan to the Kunsthaus Zurich. Other pieces remain with Bührle’s descendants.
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More than 200 years after their removal by Lord Elgin, the Elgin Marbles remain a contentious issue, symbolizing perceived injustice among the majority of Greeks. The British claim of ownership is widely rejected, and the sculptures, often referred to as the Parthenon Sculptures, are seen as stolen treasures, taken through imperial theft.
In central Athens, a consensus prevails among the people, regardless of age, asserting that the Parthenon and its sculptures rightfully belong to Greece. The argument that the British Museum ensures better preservation is dismissed, with anecdotes about issues like a leaking roof at the museum cited as evidence to the contrary.
At the foot of the Acropolis, a dedicated museum has been waiting for 14 years to showcase the missing marbles upon their return. While countries like Italy have expressed willingness to return Greek antiquities, the British government has not followed suit, maintaining a contentious stance on the issue.
The cancellation of a meeting between UK Prime Minister Rishi Sunak and Greek Prime Minister Kyriakos Mitsotakis has strained diplomatic relations. Cabinet minister Adonis Georgiadis, expressing a sense of offense, underscores the bipartisan unity in Greece, asserting that the return of the marbles is not merely a political stance but a matter of national and cultural significance.
Foreign Minister Giorgos Gerapetritis reinforces the claim, emphasizing the historical, just, and ecumenical cultural value attached to the sculptures. Despite the strained relations, there is a hope for a resolution, with Georgiadis expressing the wish for the British Museum to find a “reasonable way out” of a predicament seen as a “disgrace” by many Greeks.
Among the late-night shoppers in Athens, skepticism towards the British Museum’s motivations is evident, with some attributing the reluctance to financial concerns. The sentiment among Athenians is that the return of the marbles would not only make Greeks happy but also foster goodwill globally, promoting fairness and reasonability.
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Iluza Isyandavletova from Bashkortastan has won the title of the Miss Asia 2023. Aayushma Bajracharya of Nepal achieved the first runner-up position, Cerena Ann Johnson from the UAE secured the second runner-up title, and Jinnapat Palsuea from Thailand earned the third runner-up position. The crowning ceremony was attended by former Miss Asia Winner Nguyen Thi Yen Trang, SAJ Group Hotels and Resorts CMD Sajan Varghese, Mini Sajan, CEO of SAJ Group Hotels and Resorts, and Jolly Antony, Chairman of Vibe Munnar. Dr. Ajit Ravi, Chairman of Pegasus, was also in attendance at the event.
The contestants underwent a grooming session conducted by Pegasus, a renowned organization dedicated to fostering the growth of young talents and showcasing their modeling careers and abilities to the world. Pegasus, with its commitment to empowering emerging talents, played a pivotal role in refining and enhancing the skills of the participants, ensuring they were well-prepared for the global stage. Through these grooming sessions, Pegasus exemplifies its mission to provide a platform for aspiring individuals to step forward confidently and make a mark in the world of modeling and talent.
Out of numerous Miss Asia pageant hopefuls, 15 emerged as finalists. Unfortunately, two contestants faced unexpected challenges, including visa issues, which hindered their participation in the finals. The well-deserving winners of Miss Asia 2023 were adorned with splendid gold crowns designed by Preeti Prakash from Parakkat Jewellers. Thirteen contestants showcased their poise and elegance on the runway throughout the competition, featuring three distinct rounds: the National Costume Round, the White Cocktail Round, and the Royal Blue Gown Round.
SAJ Group Hotels and Resorts, in collaboration with DQUE, played a crucial role as the primary partners in coordinating the Miss Asia 2023 event, organized by Pegasus Global Pvt Ltd. Unique Times, FICF, Vibe, Parakkat Resorts, and DQUE Face and Body Skin Friendly Soap provided their support as powered by Partners. Aiswaria Advertisements, Kalpana International, Times New, UT World, Europe Times, Photogenic Fashion and Weddings, Neenu Pro The Sound Experts, Green Media, Good Day Hotels and Resorts, Akshay Inco, Alcazar, FOG, St Joseph’s Hospital Trust, and JD Institute of Fashion Technology served as co-partners. The objective of this competition was to highlight the diverse cultural heritage and profound values of the participating countries while also promoting tourism.
Sub Title Winners
Miss Asia Social Media – Nguyen Thi Kim Trang (Vietnam)
Miss Asia Fashionista – Chen Chia Pei (Taiwan)
Miss Asia Talent – Natalia Savina (Russia)
Miss Asia Diligent – Azhar Zhumabekova (Kazakhstan)
Miss Asia Inspiring – Aayushma Bajracharya (Nepal)
Miss Asia Vivacious – Risa Nakatani (Japan)
Miss Asia Shining Star – Ella Anak Apit (Malaysia)
Miss Asia Ramp Walk – Meurel Beverly Viegas (India)
Miss Asia Tenacious – Rashmi Subedra (Sri Lanka)
Miss Asia National Costume – Kalisa Putri (Indonesia)
Miss Asia Adorable – Cerena Ann Johnson (UAE)
Miss Asia Renaissance – Jinnapat Palsuea (Thailand)
The judging panel featured esteemed individuals including Rozanne Diasz (Miss Sri Lanka Universe 2005 and Grooming instructor), Mr. Alonkot Sungkahapong (CEO, Starfighter), Dr. Mahima Bhakshi (Model & Entrepreneur), Harmeet Singh Gupta (Managing Director, U&I Entertainment), and Rita Mathan (Owner, Pro Nail Studio).
Contestants in the Miss Asia 2023 lineup featured Iluza Isyandavletova representing Bashkortastan, Meurel Beverly Viegas from India, Kalisa Putri representing Indonesia, Risa Nakatani from Japan, Azhar Zhumabekova from Kazakhstan, Ella Anak Apit from Malaysia, Aayushma Bajracharya from Nepal, Natalia Savina from Russia, Rashmi Subedra from Sri Lanka, Chen Chia Pei from Taiwan, Jinnapat Palsuea from Thailand, Cerena Ann Johnson from the UAE, and Nguyen Thi Kim Trang from Vietnam.
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