Toulouse: Light, Stone, and the Quiet Confidence of a Great City

Toulouse doesn’t shout. It doesn’t need to. France’s fourth-largest city has a way of revealing itself slowly—through the glow of its pink brick at sunset, the hum of its cafés, the youthfulness of its streets, and the golden light that pours across the Garonne River as if the whole city has turned its face toward the sun.

I had the privilege of visiting Toulouse as part of a group organized and led by Sarah Diligenti, Executive Director of the Alliance Française of Washington. She is a native of Toulouse, and her affection for the city is contagious. As a long-time member of the Alliance, it was a joy to see her hometown through her eyes. The experience felt less like tourism and more like being welcomed into someone’s place in the world.


The Beautiful Light Along the Garonne

If Paris has the Seine and Lyon the Rhône, Toulouse has the Garonne—and its light is different. Warmer. Wider. More relaxed.

Stand along the Quai de la Daurade in the late afternoon and you’ll see why photographers adore this river. The sun drops low, raking the facades of old brick warehouses and convents, and the water turns a deep metallic blue. The dome of La Grave seems to float. Couples sit on the steps. Friends carry bottles of wine. Life takes on a certain softness.

The Garonne begins high in the Spanish Pyrenees at the Pla de Beret and flows 529 kilometers northward through southwestern France before merging with the Dordogne to form the Gironde estuary, eventually emptying into the Atlantic near Bordeaux. Toulouse grew because of this river—because of its trade, its silt, its life—and the city still orients itself toward it.


Place du Capitole: A Stage Set of Grandeur

Every visitor eventually drifts toward the Place du Capitole, the city’s true living room.

The square is enormous—regal without being pompous. Its pale stone surface reflects the sky, and the façade of the Capitole, Toulouse’s town hall and theatre, stretches across an entire block like a Renaissance stage set painted in rose and cream.

Sit with a coffee and watch the square turn from morning bustle to afternoon languor. At night it becomes cinematic: couples posing under the arcades, groups of students weaving past, street musicians tuning their guitars. Sarah brought us here first, as if to say: this is where the pulse of the city can be felt.

If you want to understand Toulouse’s confidence, start here.


Couvent des Jacobins: Light You Don’t Expect

From the outside, the Couvent des Jacobins is easy to miss—just another brick wall on a quiet street in a city full of brick walls. But step inside and everything changes.

The light is astonishing.

Columns rise like palm trees, splitting the vault in a pattern unlike any other Gothic space in Europe. Sunlight filters through tall windows and dances across the floor, illuminating the famously delicate “palm tree” column that seems to hold the heavens together. The effect is both austere and uplifting—one of those places where the air feels different, as though centuries of contemplation have seeped into the stone.

It is a place you stumble into once and remember forever.


A City of Students—and Their Energy

Toulouse is often called La Ville Rose for its pink brick, but it could just as easily be called La Ville Jeune. It is one of the largest student cities in France—home to over 100,000 university students across institutions like the University of Toulouse, Toulouse 1 Capitole, Toulouse II Jean Jaurès, and the renowned engineering school, INSA.

This youthful energy is everywhere: in the packed terraces, in the narrow streets around Place Saint-Pierre, in the late-night laughter that spills out of wine bars. The city feels alive because its average age is young—and because young people shape its rhythm.


Toulouse at Night: A Mood All Its Own

After dark, Toulouse becomes reflective.

Lanterns glow under the arcades. The river absorbs the city’s lights and sends them shimmering back. The soundscape softens—just footsteps, distant music, the hum of a bicycle. Something about the combination of brick, shadow, and sky makes your mind wander. It is a place that invites thought, memory, and stories.

The night feels gentle yet filled with possibility—like a city that understands both its past and its future.


Notre-Dame de la Dalbade: A Quiet Gem

Visitors often overlook Notre-Dame de la Dalbade, but it deserves a moment.

Named for its once-white facade (la dalbade meaning “whitewashed”), the church stands in the Carmes district and is crowned with one of the most striking ceramic tympanums in France—a vividly colored Last Supper that seems impossibly bright against the brick surrounding it.

Inside, the church has a deep stillness. Sunlight falls in thin beams across the nave, revealing a space filled with the scent of wood and incense. It’s the kind of place that makes you slow down without realizing it.


Marché Victor Hugo: The Beating Heart of the City

If you want to understand how well Toulouse eats, go to Marché Victor Hugo.

It is crowded—in the best way. Fishmongers calling out the day’s catch. Butchers slicing lamb and duck confit with practiced precision. Cheese counters overflowing with pyramids of chèvre, sheep’s milk tommes, and wheels of Roquefort. Produce stacked in brilliant color.

This is not a tourist market. It is where Toulousains shop, gossip, argue, flirt, and order a glass of wine upstairs before lunch. Even if you buy nothing, the atmosphere is irresistible.


The Majesty of Saint-Sernin

And then there is Basilique Saint-Sernin, one of the greatest Romanesque churches in Europe.

The nave of Basilique Saint-Sernin, one of the great Romanesque churches of Europe. Columns and arches draw the eye toward the light.

Its octagonal bell tower rises above the low roofline of the city like a compass point. The church was once a major stop on the pilgrimage route to Santiago de Compostela, and its size reflects that history—immense, solid, welcoming.

Inside, the columns and arches draw your eyes forward, as if the whole building wants you to move toward the light at the apse. It feels ancient in the deepest, most dignified way.


Toulouse Stays With You

Toulouse isn’t the first French city many travelers think of—but perhaps that’s why it feels so rewarding. It has beauty without pretense, history woven into daily life, and a warmth—of people, of light, of brick—that stays with you long after you leave.

It’s a city that doesn’t need to impress you. It simply does.

I left with photographs, yes—but also with the quiet glow of having been there, and the pleasure of seeing a city through the pride and affection of someone who calls it home.

Why Did I Wait So Long?

After years of saying, “One day I’ll get a 13-inch MacBook Air,” I finally did it. Costco dangled a Black Friday deal in front of me, and—what can I say—I blinked first.

And you know what? I’m delighted.

This light blue MacBook Air is small, light, and honestly… adorable. It’s the kind of computer that makes you want to leave the house, wander to a coffee shop, and type something—anything—just because it’s fun to use. It slips into a bag without the usual negotiation about weight, bulk, or whether I really want to carry a laptop today.

No, it’s not the most powerful Mac in the lineup. And the screen isn’t the luscious, movie-theater-in-your-lap panel of the Pro models. But the battery just keeps going, the machine stays quiet, and it runs full Mac apps without complaining. Best of all, it has an actual, comfortable keyboard—something my iPad, as much as I enjoy it, never quite replaces.

After a few days with it, I’m left with a single question: why did I wait so long? Sometimes I don’t need the “Pro.” Sometimes I just want something light, friendly, and ready to go anywhere.

The MacBook Air is exactly that. And I think it’s going to get a lot of coffee shop miles. ☕️

The Weight of the Emblem

There once was a man who believed that a certain emblem on the front of his car said something important about who he was.

He admired its engineering, its heritage, its quiet prestige. When he was younger, it made him feel that he had arrived — that he was honoring the world his father came from and the one he had built for himself.

Over time, though, something began to change. The emblem no longer shone quite as brightly. Repairs became frequent. Technology passed it by. Yet he held on, believing loyalty meant endurance.

One day, he realized he was no longer driving a car — he was carrying a memory.

He had mistaken sentiment for identity.

So he set the emblem down.

He chose something new, not because it was better or flashier, but because it fit the life he was actually living — simpler, steadier, still beautiful in its way.

And to his surprise, letting go didn’t feel like loss.

It felt like release.

He could remember his father with love, and still move freely in the world of today.


The Reinvention of Riggs Bank: Washington Landmark Becomes the Milken Center

Across from the White House on Pennsylvania Avenue stands the former Riggs National Bank building—a fixture of Washington life for over a century. In 2015, the Milken Family Foundation acquired this landmark, along with adjacent properties, spending a combined $86.5 million to secure their presence at the heart of the nation’s capital. (Bisnow) $31 million went for the Riggs building at 1503–1505 Pennsylvania Avenue NW, while an additional $55.5 million covered the neighboring properties, including 1501 Pennsylvania Ave NW and 730 15th Street NW. (Bisnow)

This wasn’t just a real estate acquisition; it was a symbolic statement. The location—directly opposite the Treasury and a short walk from the White House—signals that the project goes beyond philanthropy. The decision to establish the Milken Center for Advancing the American Dream in such a prominent spot underscores a belief that the values of opportunity and aspiration are central to America’s civic life.

Although the Milken Center bears the name of financier Michael Milken, its story also reflects a broader arc of reinvention. In the 1980s, Milken rose to prominence on Wall Street as a pioneer of high-yield bonds before pleading guilty in 1990 to securities and tax violations, serving prison time, and paying substantial fines. He was later barred from the securities industry. In 2020, President Donald Trump granted him a full pardon, citing decades of philanthropic work. Since then, Milken has devoted his wealth and influence to medical research, education, and philanthropy through the Milken Family Foundation and the Milken Institute—the organizations behind the creation of this new cultural landmark in Washington.

The original Riggs building, completed in 1899 and designed by York & Sawyer, held a storied history as “the Bank of Presidents.” Today, it’s been transformed into a cultural destination that repurposes stability into inspiration.

The Hall of Generations

At the heart of the restored Riggs Bank hall stands the Tree of Generations, a luminous golden sculpture symbolizing the connections among innovators, artists, and entrepreneurs whose work has shaped the American story. The installation rises beneath a grand skylight and classical ornamentation, filling the space with both light and metaphor.

The Hall of Generations at the Milken Center for Advancing the American Dream, featuring the Tree of Generations—a golden sculpture celebrating the individuals whose creativity and perseverance have shaped America’s evolving story. © David H. Enzel, 2025

This Hall of Generations serves as the entry point to the Center’s galleries, which explore the pillars of the American Dream—education, health, financial empowerment, and entrepreneurship. It is a powerful visual reminder that individual achievement grows from shared roots.

Gold-Leaf Gallery

This gallery features a gold-leaf vaulted ceiling that casts a warm glow over rich wood paneling and contemporary seating. Located near the Stand Together Theater, it merges historic craftsmanship with modern storytelling displays—a quiet, contemplative space that honors the grandeur of the building’s banking past and the optimism of its new mission.

A Landmark Reimagined

The Milken Center’s completion marks the culmination of a decade-long restoration project that united five adjoining historic buildings into one interconnected institution. What once served as the headquarters of Washington’s most powerful bank now invites visitors to think about how opportunity itself is built, nurtured, and renewed.

In a city where history and symbolism matter, the Milken Center for Advancing the American Dream stands as both—a place that transforms marble and glass into a living conversation about possibility.

For now, the Milken Center’s architecture remains its most eloquent statement. The restored marble halls and gold-leaf ceilings are breathtaking—among the finest adaptive reuse projects in Washington. Yet the exhibits feel tentative, more gesture than substance, as if the space itself is still waiting to discover its voice. Perhaps that’s fitting: a monument to aspiration still in search of the story it wants to tell.

I’m glad I visited the Milken Center. It was moving to see the former Riggs Bank so beautifully restored, its marble and gold alive again. Yet the experience left me with mixed feelings. For all its polish and ambition, the project feels oddly sad—an immense investment in image and permanence when the same resources might have done more tangible good elsewhere.


A Lifetime of Love for Paris

For nearly fifty years, I’ve carried a love of Paris. For a long time, I thought it was an inheritance—a gift from teachers, photographers, French cousins, and friends. But only recently have I realized that Paris now belongs to me.

The seeds were planted early by my very first French teacher, Mrs. Stewart in Pittsburgh, who always made me feel valued and welcome. She made French not just a subject but a joy—something expansive, a new world opening before me. Later, a college professor urged me to take my first trip to France—a visit that included meeting my French cousins, who graciously introduced me to the City of Light and its culture, followed by a month at the University of Aix-en-Provence.

In Paris, seeing the Eiffel Tower and the Champs-Élysées for the first time was overwhelming. I didn’t just see grandeur; I felt the weight of history that has transpired there. Standing on the Champs-Élysées, I was struck by the horror of Nazi Germany marching down it in victory on June 14, 1940, and the profound relief and pride of the American and French armies liberating Paris on August 25, 1944. The German occupation lasted just over four years, and the liberation, led by French and U.S. forces, was met by jubilant Parisians in the streets. That same day, Charles de Gaulle entered the city to proclaim, “Paris! Paris outraged! Paris broken! Paris martyred! But Paris liberated!” The following day, he marched triumphantly down the Champs-Élysées, embodying the spirit of France restored. The weight of those moments in history made me appreciate even more the resilience and beauty of the city I was discovering. I think of those events every time I see the Champs-Élysées.

Yet Paris was only the beginning of my French journey. In Aix, I met a teacher from the Flemish-speaking part of Belgium who shared my love of the country and its language. I also met Marica from Mexico, who was simply fun to be with. One day, we rented a paddle boat on Lac d’Esparron in the south of France. We lost track of time, missed our bus back to Aix, and ended up laughing as a kind stranger gave us a ride to the train station in Manosque so we could make our way home. It’s a small story, but one I treasure—a reminder of youth, friendship, and the kindness of strangers.

That same summer, I discovered the music of Véronique Sanson. I loved her then and still do now. I remember listening to her voice while visiting the calanques of Cassis, marveling at their sharp white cliffs and turquoise but icy water. Somehow, the beauty of those landscapes fused in my mind with the beauty of her songs. Even now, hearing her music carries me back to that summer.

After moving to Washington in 1979, I kept up my French. At Georgetown University and the Alliance Française de Washington, I found kind and influential teachers who nourished my love of France and its language and culture. Through them, Paris stayed alive for me, even when I was far away.

I wish I had photographs from my first trip to France. I’ve since learned that even imperfect photos are worth keeping because they hold memories words can’t always capture. Photography, for me, is a way to preserve what matters most.

It was my father who made these experiences possible, investing in my education and my first trips abroad, shaping me in lasting ways. My teachers opened doors, and friends gave me stories to carry.

Now, with my camera, I carry them all forward. Every photograph I take in Paris is a way of honoring those who helped me get to know the city. Paris is a presence that has grown inside me over a lifetime, stitched together by people, music, landscapes, and light. Just as I once linked Véronique Sanson’s songs to the calanques of Cassis, I now link my own photographs to the Paris I love. Paris lives in my memory, my images, and my heart.

Centre Pompidou — A Place I Came to Love

I first visited the Centre Georges Pompidou in 1977, the year it opened. The building felt shocking in its modernity. I had never seen anything like it — exposed pipes and bold colors, right in the heart of Paris. How could this belong in the same city as the Louvre or the Assemblée Nationale?

The idea for the Centre took shape in the late 1960s, when Paris was still unsettled by the protests and strikes of May 1968. President Georges Pompidou, who loved modern art, wanted to create a cultural center that would feel open, democratic, and alive. His vision was to combine a public library, a museum of modern art, and spaces for music and performance under one roof — a place where tradition and the avant-garde could meet.

In 1971, an international competition was launched, drawing more than 600 entries. The jury, chaired by French architect Jean Prouvé, chose the radical proposal of two young architects: Renzo Piano, born in Genoa in 1937, and Richard Rogers, born in Florence in 1933 to a British family. Their design turned architecture inside out. By pushing structure, escalators, and utilities to the exterior, they left the interior wide open and flexible. Prouvé admired their daring — it was exactly the step into a new era that Pompidou had hoped for.

Over the years, as I returned to the Pompidou, I grew to love it. The plaza in front of the museum always recharged me. Young people sprawled on the ground, laughing, playing music, filling the courtyard with life. That sense of openness was not an accident — Piano and Rogers wanted the Centre to be a crossroads of art and community.

I also remember riding the exterior escalator, climbing above the rooftops of Paris. From there, the city unfolded — Sacré-Cœur glowing on the horizon. It reminded me of Piano’s later projects, like the Shard in London and The New York Times Building in Manhattan, always searching for lightness and views. Rogers, for his part, went on to shape landmarks such as Lloyd’s of London and the Millennium Dome. Both would eventually win the Pritzker Prize — Piano in 1998, Rogers in 2007 — but here in Paris, their collaboration was at its boldest.

Now, the Pompidou is closed for renovations, with reopening planned for 2030. I don’t know when I will see it again. What I do know is that I will miss it.

The Pompidou began as something I thought was too modern, almost jarring, and became a place I adore. It carries with it the daring of its architects — one Italian, one British — and the conviction of a president and jury who believed Paris could take a step into a new era. For me, it became just that: a space of art, of community, of Paris itself, bold and alive.

The Tomb of William the Conqueror

In the heart of Normandy stands a monument to one of Europe’s most consequential rulers. Inside the Abbaye aux Hommes—the Men’s Abbey, also known as Saint-Étienne Abbey—in Caen, France, lies a simple marble tomb marking the final resting place of William the Conqueror.

Born around 1028, William rose from Duke of Normandy to become a formidable force in European history. His decisive victory at the Battle of Hastings in 1066 brought England under Norman rule, setting in motion sweeping changes to the kingdom’s language, law, and social order. He was the first Norman King of England, and his reign reshaped the destiny of a nation.

William founded the abbey as an act of penance, after marrying his cousin Matilda of Flanders against Church law. When he died in 1087, his body was brought here to rest within the walls of the church he had endowed. Yet his remains would not know peace. Over the centuries, his tomb was desecrated multiple times—most violently during the French Revolution. Today, only a single bone, believed to be a femur, is thought to remain.

The tomb we see now, adorned with flowers and lit by candles, is at once modest and monumental. It speaks to the paradox of William’s legacy: a man who conquered kingdoms and changed history, yet whose earthly remains were reduced almost to nothing. The stone slab is a reminder of ambition’s reach and mortality’s certainty—a place of quiet reflection on how even the most powerful lives can end in fragility.

Notre-Dame Reborn

When I stepped inside the restored Notre-Dame de Paris on my recent trip, my jaw dropped. I had braced myself to see scars from the 2019 fire — blackened stone, lingering smoke, a cathedral permanently marked by disaster. Instead, I found a space so clean and luminous it felt renewed. The air was clear, the stone brighter than I remembered, and nothing betrayed the night when flames nearly brought this monument down.

That fire broke out on April 15, 2019. It destroyed the spire and much of the roof, and left the world watching in disbelief as one of the most recognizable buildings in Europe seemed on the verge of collapse. In the days that followed, President Emmanuel Macron promised the French people that Notre-Dame would be rebuilt “within five years.” At the time, it sounded impossibly ambitious.

And yet, in December 2024 — just over five years later — the cathedral reopened to the public. The restoration was a massive undertaking. Carpenters and stonemasons worked with traditional tools and materials, rebuilding the roof frame in oak and covering it again in lead. Specialists cleaned centuries of soot from the interior stone, leaving the walls brighter than I ever remember seeing them. The cost was staggering, estimated at around €700 million, but more than €840 million was pledged, much of it from private donors, corporations, and foundations, with the French state overseeing the effort.

Investigators never determined a single definitive cause for the blaze. Arson was ruled out. The most likely explanations point to either faulty electrical wiring or a cigarette left smoldering on the scaffolding that surrounded the roof. Whatever the origin, the fire became a national trauma — and the restoration a matter of pride.

One of the most striking aspects of the restoration is what cannot be seen: the measures put in place to protect the cathedral from another disaster. Notre-Dame is now equipped with advanced fire detection sensors, a sprinkler system designed to protect the attic timbers, and strict new safety protocols for any construction or maintenance work. Dedicated fire safety teams are trained specifically for the building, and regular inspections are built into its ongoing care. The new oak roof frame may look medieval, but it is now guarded by twenty-first century vigilance.

Now, walking through the nave and looking up at the soaring vaults, you would not guess at the near loss of this building. The absence of smoke stains, the brightness of the walls, even the feeling of clarity inside the space all speak to what was achieved. Notre-Dame does not look like a survivor so much as a rebirth — a reminder of how cultural treasures can be both fragile and resilient.

For me, the experience was moving not only because of what I saw, but because of what I didn’t. I saw no evidence of catastrophe. Instead, I saw continuity — a cathedral that, having nearly perished, now feels more present and alive than ever.


You can get a sense of the magnitude of the destruction and the effort involved in the reconstruction in this video:


Maison Européenne de la Photographie: A Home for Photography

In the heart of the Marais in Paris lies the Maison Européenne de la Photographie (MEP). It isn’t a grand, imposing museum like the Louvre or the Musée d’Orsay. Instead, it feels intimate, almost hidden — a place where you can stand quietly before a single photograph, letting it work on you without distraction.


Encountering Marie-Laure de Decker

The exhibition that stopped me in my tracks was devoted to Marie-Laure de Decker. Before this visit, I knew nothing about her. Yet her black-and-white images held me still: the grain of film, the intensity of her subjects’ eyes, the strange balance of fragility and strength.

Her story is as remarkable as her photographs. De Decker began as a striking fashion model in Paris. She saved enough money to buy her first Leica and soon turned the camera on the world’s conflicts. Her photographs from Vietnam and Chad carry a rare humanity — not just war and suffering, but dignity, presence, and survival.

Two of her cameras, a well-worn Leica M3 and M4, are on display at the MEP. Ordinary tools, scratched and aged, yet heavy with history and courage.


More Than a Museum

The MEP is not just a gallery of images. It feels like a home for photography itself, where established masters share the stage with emerging voices. Its bookstore is a temptation all its own — shelves lined with rare catalogues, monographs, and books that open like personal invitations into other lives.

And when you step back outside, you’re in the Marais: narrow old streets, bustling cafés, a Paris scaled to human rhythm.

Marie-Laure de Decker – on display at the MEP

What Matters

Standing in front of de Decker’s work, I felt something I sometimes forget: the latest gear matters very little. What endures is the eye, the courage to see, and the willingness to be present.

The MEP reminded me why I fell in love with photography in the first place. It is not only about images. It is about memory, refuge, and meeting the world through another’s gaze.


If You Go

If Paris is in your plans, make time for the Maison Européenne de la Photographie. You may arrive expecting to see photographs. But if you linger, you might leave changed — carrying the weight of another person’s vision, and perhaps, a little more courage to see the world for yourself.

Swiss Economic Ties to Nazi Germany

During World War II, Switzerland maintained extensive and highly profitable economic ties with Nazi Germany, a relationship that has been a subject of significant historical scrutiny.

The Bergier Commission: The Swiss government’s own independent inquiry, the Bergier Commission, conducted the most comprehensive study of Swiss relations with Nazi Germany, documenting extensive economic ties across banking, industry, transport, and insurance. Final Report – synthesis PDF.

Banking and gold: The Swiss National Bank (SNB) and commercial banks purchased large quantities of gold from the German Reichsbank, much of it looted from occupied Europe and victims of Nazi persecution — a pattern detailed in the official U.S. government Eizenstat report and in the SNB’s own historical study. State Dept. summary; SNB report PDF.

Industry and exports: Swiss firms supplied Germany with machinery, precision instruments, and war-relevant goods. Official research shows Swiss exports of war-relevant goods rose from 47 million CHF in 1937 to 425 million CHF in 1943. Bergier economic chapter – PDF. Additional Bergier studies found that munitions exports overwhelmingly favored the Axis. Swissinfo summary.

Prefabricated barracks and espionage. Declassified U.S. intelligence records detail the activities of SS officer Hans Wilhelm Eggen, a close associate of Heinrich Himmler. These documents show that Eggen both arranged multi-million-franc purchases of prefabricated huts from Swiss suppliers and used these transactions as cover for building an SS intelligence network and managing clandestine finances in Switzerland. CIA Reading Room – doc 1; CIA Reading Room – doc 2

Whatever one calls Switzerland’s political stance, the historical record shows that Swiss institutions and companies actively engaged in — and profited from — economic relationships with Nazi Germany across finance and industry. Bergier Commission portal.