exhibition dossier of the gods

Teotihuacan grew to become the dominant force in the Valley of between 300 and 100 BCE, and its influence soon spread to a far wider area that included also mountainous regions. At the peak of its splendor, it was one of the largest human settlements anywhere in the world. Teotihuacan is simply vast: its squares, its and its streets simply overwhelm the visitor with their enormous size. Brian Fagan

Malinaltepec Mask, with mosaic covering and necklace with pendant. Stone with applications in turquoise, amazonite, and shell. 100-650 AD, Museo Nacional de Antropología,

• how to use this file

• Teotihuacan

• work modules the metropolis the wall paintings masks shells

• suggestions for further reading from the Art Bookshelf

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This file is designed for anyone interested in finding things out and in experimenting with things. It offers suggestions for discussion topics and activities. The work modules explore key themes with images, information, quotes and tips for encouraging creative activity. It is a useful tool for further developing the issues addressed at suggestions for use the exhibition, either at school or and at home, in an attempt to foster a resource for teachers, parents and professionals With over 400 exhibits from digs conducted between 1998 and 2004 and on display here ongoing dialogue with schools in Italy for the very first time, the Teotihuacan: City of the Gods exhibition offers the public and families well beyond the mere an overview of this ancient Mexican civilization which disappeared so myteriously. The visit to exhibition itself. visitor is taken by the hand and led to discover the most important and appealing aspects of Teotihuacan, from its town planning to its politics, from its religion to daily life in the city, and from its art to the city's role in a broader Central American context. to analyze thoroughly our This file, like the exhibition itself, offers a mix of several distinct disciplines and touches on methodology, we suggest you: a variety of different aspects in the spectacular artistic story of this city, which many have C. Francucci e P.Vassalli (a cura di), likened to a central American Rome, in an attempt to bring the exhibition to life for Educare all’arte, Electa Milano 2005 children as it strikes a chord with their own lifestyle and experience. C. Francucci e P.Vassalli (a cura di), We’d love to know what you think of this dossier and the things it offers so please Educare all’arte. Immagini esperienze don’t hesitate to write us at this address: [email protected] percorsi, Electa Milano 2009

educational aims • encouraging group work based on interaction with others involving story telling, descriptions and dialogue, asking each other questions, information, impressions, opinions and feelings; • educating children to critically observe and analyze objects from other cultures than their own, discovering the similarities and the differences inherent in human activity; • familiarizing childern with diversity by discovering the customs and the history of a different people; • fostering the realization that the form and material of a work of art can help to mold its significance and its function; • helping children to realize the part each one of us has to play in preserving our heritage through the study of archaeology; • approaching history through comparison with children's own daily lives to stimulate curiosity and to explore its relevance to the present day; • offering learning methods based on the kind of theoretical criteria and practical solutions that can be achieved in a workshop environment.

Sculpture with an image of a death deity. Stone, stucco and pigment, 400-600 AD, Museo Nacional de Antropología, Mexico City

2 obsidian volcanic stone that looks like glass and is usually grayish black in color. In Teotihuacan, on the other hand, it has a distinctive green color. At least as sharp as metal, it is used to make blades and other sharp tools. a nomadic people that began to settle in the Valley of Mexico in the 13th century, subsequently establishing Tenochtitlàn where Mexico City stands today. Toltecs a warrior people who took Teotihuacan over the city of Teotihuacan after its fall, maintaining control over it for Teotihuacan is situated close to Mexico City, at an altitude of approximately 2,300 mt. about two hundred years. Devoid of either walls or military constructions, the city is a grandiose sacred complex conquistadores Spanish colonizer which includes pyramids, temples and palaces. It dominates an alluvial valley with springs who conquered Central and South that make the terrain extremely fertile. The presence of volcanoes provided the local America in the mid-16th century, people with obsidian, a material which can be used to make artifacts and tools. The city after the discovery of the New World, reached the peak of its splendor between 150 and 450 CE, when it became the center of a and brought the native population major culture that wielded a power and influence over Central America comparable with under brutal control. that wielded in Europe by ancient Rome. After its mysterious fall, the peoples who settled in the city were so overawed by the enormous size of the massive ruins meeting their eyes, that they were convinced the gods had sacrificed their own existence to permit the start of a new era. It was the Aztecs who called it Teotihuacan, "the city where gods are born" and who dedicated the largest the Diego Rivera collection pyramids in the city to the Sun and Moon. Even today we still do not know the reasons Some of the exhibits on display come that led to the city's downfall. Was it sudden climate change that brought famine and from the prestigious collection of hardship? Was it a barbarian invasion? Or was it a series of internal grassroots uprisings artist Diego Rivera. Starting in 1942, within Teotihuacan society itself? Some sources tell us of looting and burning in the city the artist devoted the last years of his by the Toltecs in around 700 CE. Many hundreds of years later, the Spanish conquistadores life to the creation of a studio-home found Teotihuacan completely abbandoned and covered in garbage, earth and vegetation. (today the Museo Diego Rivera Anahuacalli) to house his collection The first archaeological digs were undertaken in the early 20th century and they have of archaeological artifacts. Pre- been going on without a break since then, unearthing a grandiose Neolithic metropolis. columbian civilizations meet Teotihuacan became a UNESCO World Heritage Site in 1987. contemporary history in Rivera's art, in which the religious symbols of ancient Mexico are fused with today's events. His paintings are designed for the large wall surfaces of public buildings. One of his most important projects was the presidential palace, for which he painted the " from the Conquest to 1930".

chronological outline of ancient civilizations in Central America

3 work module Avenue of the Dead this name was given to it by the Aztecs, who believed that the awe-inspiring buildings on either side of it were tombs built by giants for the first lords of Teotihuacan. zenith this is the highest point in the sky, directly overhead the observer on the ground, and it lies exactly 90° from the horizon. In the the metropolis Tropic of Cancer the sun reaches in zenith at midday on 21 June, the day We know very little about the knowledge or the beliefs of those who built Teotihuacan. the summer solstice is celebrated. Despite the fact that archaeologists have been working among the ruins for over a century, Quetzalcóatl this is the name that only a very small part of the city has been scientifically excavated to date. the Aztecs gave to the plumed Fernando Jiménez del Oso serpent, the principle deity throughout Central America. The Quetzal, a rare climbing bird with a Teotihuacan was built to a specific plan around a north-south axis known as the Avenue of tail over 80 cm. long and iridescent the Dead, with the major ceremonial buildings rising to either side of it. The monumental blue-green plumage, was a symbol of area is built in accordance with the principles of symmetry and perpendicularity. The divinity and it is combined here with planners designed their city in a cross shape, cutting the north-south axis by diverting the the coatl or water snake. The three San Juan river. The project's regularity has prompted archaeologists to posit a close link elements of air, water and earth are between the site on which each building was erected and observation of the map of the merged in his final aspect. heavens. The Avenue of the Dead reproduces the sun's trajectory in the course of a single year, while the great marks the spot on the horizon where the sun sets once a year, on the day it reaches its zenith. At the northernmost point of the Avenue we encounter the which, while smaller than that of the Sun, is perfectly aligned with it because it was built on higher ground. To the south of the Avenue, the Citadel is a square-shaped complex which is thought to have been the residence of the priests, the most powerful elite in the city. Within its walls is located the pyramid of Quetzalcóatl, a temple dedicated to the most important deity in Central America. The other buildings were erected on a grid plan organized around the two main streets, the Avenue of the Dead and the East-West road. The point at which these two streets intersect marks the center of the city and divides Teotihuacan into four large neighborhoods, each one devoted to different economic and social activities. The city was built of stone, sun- dried mud bricks and wood, all of which were easily available in the region.

Pyramid of the Moon

Pyramid of the Sun

Pyramid of Quetzalcoatl Avenue Citadel of the Dead

4 topic for discussion religion in ancient In Teotihuacan and in other ancient civilizations there is always a close tie between religion and the city. Families, groups and tribes assigned enormous importance to sacred areas with buildings dedicated to the practice of their religion. These buildings are often set on three levels: below ground for the cult of the dead; at ground level for man's earthly life; and on a raised level to get closer to heaven and to the gods. Compare Teotihuacan with other ancient cultures such as Mesopotamia, Egypt, Greece and Rome. Which sacred buildings represent the point of contact between heaven, earth and the underworld? activity the accidental town-planner In ancient times, cities were not formed by a gradual increase in the number of their inhabitants and their buildings, they were founded when it was felt that a cultural community had formed which was united in its customs and in its interests. Try drawing the plan of an ancient city to reflect the lifestyle of its mysterious population. Plot the outline of the city walls on squared paper. Think about the shape of the outline and decide how many gates are going to be needed to get into the city.To allow people to move about inside the city, you are also going to have to plan streets that meet and cross, leading to public and private areas such as houses, squares, shops, sacred areas and leisure spaces. When you have finished, choose a name for your ancient city. If you prefer, you can use collage rather than drawing, simply collecting pictures of walls, roads and buildings from old newspapers and magazines. Look at your plan and try to imagine entering the very fabric of the city, ambling down its streets and heading for one or the other of the sites you have created. Make sure it contains everything that its inhabitants might need to allow them to live in accordance with their own customs.

Jaguar emerging from a plumed ‘portal’ Stone, stucco and pigments, 350-650 AD Museo Nacional de Antropología, Mexico City

5 work module ziggurat a truncated, stepped pyramid built by the Sumerians, each level smaller than the one below and joined by external staircases. The ziggurat was a platform designed to support a temple on the summit. Tlaloc this is the name that the Aztecs gave the god of water and thunderstorms: "he who causes the crops to grow". He is depicted with goggle eyes and an upper lip in the shape of a mustache with four long fangs. leap year a leap year is a solar year Talud to which an extra day is added at the end of February to keep our calendar in sync with the cycle of the seasons. This ploy is adopted in both the Julian Tablero and Gregorian calendars.

Talud

Tablero

South American pyramids were built with extremely advanced construction techniques and astronomical references that were very similar to those adopted by the architects and astronomers of ancient Egypt.

Luigi Colli

the pyramid

The pyramids of Teotihuacan are compact buildings which bore covered temples on their summits. Unlike the pyramids of Egypt, they were neither used as tombs for kings nor erected some distance from the center of the city. The Pyramid of the Sun is the largest built structure in Teotihuacan and it can be seen from anywhere in the city. It has oblique walls called taludes, alternating with rectangular steps or terraces known as tableros.It consists of five storeys, one above the other, and it was built over a natural cave with a subterranean stream. The cave is shaped like a flower with four petals and it symbolizes the birth of life and creation. The summit of the pyramid represents life at the center of the universe. The priests used a staircase on its left side to reach the now destroyed temple located at the very top of the pyramid. During religious ceremonies, the faithful could see the priests climbing to the top of the pyramid, but then they lost sight of them, envisioning them entering heaven. Like the ziggurats of Mesopotamia, the pyramids of Teotihuacan served to bring the priests closer to the gods, to strike awe and reverence into the hearts of the people, to boost the city's prestige, and also to allow astronomers to study the heavens more easily. Another important pyramid in the city is dedicated to Quetzalcóatl. It comprises six superimposed talud-tablero stages and is decorated with heads carved in relief. On the taludes we find serpents with plumed collars, snails, shells and starfish, while on the tableros plumed serpents alternate with the heads of dragons with scaly skin, which many scholars suggest may be identified with Tlaloc, the god of water and or fertility.There are a total of 366 stone heads; in other words, there are as many heads as there are days in a leap year.The pyramid was planned to reflect the agricultural calendar, because it associates the cult of the sun with the cult of rain in a constant evocation of fertility and life. In addition to these huge monuments, Teotihuacan has over one hundred minor pyramids, all of which are built along each side of the Avenue of the Dead.

6 Pyramid of the Sun

Head carved in relief, Pyramid of Quetzalcóatl

topic for discussion pyramids in the ancient world Pyramids were built all over the ancient world, from Mexico to China, from Mesopotamia to Egypt, and from the islands of the Pacific to Bosnia. How can cultures so distant from one another have erected such similar buildings? Are they all shaped the same? Do they all serve the same purpose? Look up the subject of pyramids in the ancient world either on the Internet or in a library; compare their similarities and discover their differences.

activity the energy enshrined in a pyramid Many scholars argue that the pyramid is a powerful accumulator of energy thanks to its shape.They have conducted experiments with small pyramids built to the plan of the Great Pyramid of Cheops in Egypt, and they have come up with some seriously bizarre results. These models can actually increase the vital energy, the life force, of the things inside them. Food keeps longer, plants grow faster even without any light, and the normal decomposition of organic substances slows down. Having trouble believing that, are you? Well then, try building a pyramid out of any material you can find, even cardboard, but make it big enough so you can sit comfortably inside it. Once you are inside, cross your legs, place your hands on your knees, close your eyes and concentrate: a charge of positive energy will start to descend on you from the apex of the pyramid.

7 work module fresco to make a fresco, you have to cover the wall with a layer of plaster and apply paint on it while the plaster is still wet, before it starts drying out. The colors penetrate into the plaster as it dries and they become part of the wall itself, which allows the plaster to stay firmer and the colors to stay brighter for a very long time. pelota the Spanish word for a “ball” denotes, in this instance, a game in which players used either their feet What is left of the paintings […] tells us above all of a religion inspired by life itself, in which or a stick rather like a golf club. the transcendental deities appear to incarnate the eternal flow of life between fertility, The playing field represents the blossoming and fertilization. cosmos, the rubber ball is the sun, Luigi Gulizia and the players are the gods tasked with moving the sun across the sky

wall paintings

Painting in Teotihuacan was at the service of religion just as architecture was. It achieved its loftiest expression in the fresco decoration of the temples and of the priests' houses. It covered the buildings both inside and out, although red on its own was often used for the latter purpose. There were two techniques used in painting: fresco, which consisted in wetting parts of the wall and then applying the colors diluted in water or cactus sap; and tempera, which demands the addition of resin or glue to color that is then applied to walls already dry.The colors used were drawn from the earth and from minerals, like Indio red, turquoise blue, malachite green or yellow ochre. These substances were ground in mortars, mixed on a palette and then applied to the walls with brushes. The preparatory drawings were either scratched into the walls using pieces of obsidian or drawn on them with pieces of charcoal. The decorations are symbolic and they are still difficult for us to interpret today. The most frequent kinds of decoration depict deities, priests in a procession, animals, plants, water and food. Wall painting in Teotihuacan offers scholars a veritable mine of useful information to help them reconstruct the customs and traditions of its inhabitants. One of the most interesting examples are the paintings recording the game of pelota: even though no playing field has yet been discovered in Teotihuacan, the wall paintings show us that the game was played there on quite a large scale.

Mural painting showing Tláloc singing and scattering food. Mural painting with singing quetzal. Stucco and pigments, 400-600 AD, Stucco and pigments, 200-400 AD, Museo Nacional de Antropología, Mexico City Museo Amparo,

8 topic for discussion serpent gods Frescoes and sculptures tell us that the most important deity in the Mexican pantheon was Quetzalcóatl, the plumed serpent. Many deities are associated with the serpent in the history of religions, to represent the life force, transformation and rebirth. The snake is present in every ancient culture as a symbol of the continuity of life and of the link with the underworld on account of the animal's habit of withdrawing to concealed, underground lairs. Mysterious and primitive, the snake emerges from the watery depths where life began, and it is "reborn" every season when it goes into hibernation and moults, changing its skin. In our own culture today we tend to have a rather negative perception of the snake. Why is that? Talk it over with your teacher and your parents, and try to discover where and when the snake began to be associated with evil and dishonesty.

activity a prayer to Tlaloc Frescoes often show Tlaloc, the god of water and lightning, in the act of pouring water and seeds from his hands to vouchsafe the earth's prosperity. He is a compassionate deity who irrigates fields in response to the priests' prayers, yet at the same time he is fearsome and capable of immense wrath, of causing drought, flooding and hailstorms. Tlaloc is portrayed with the eyes and nose of a snake, the mouth and teeth of a jaguar and with the feathers of a heron on his hair, symbolizing the clouds that gather around mountain tops before a rainstorm. To ensure plentiful corn crops, the priests beseeched Tlaloc's favor with processions, rituals and magic formulas. Try composing your own plea in rhyming verse, working the words rain, thunder, help, energy, fertile, earth and sun into it. Build the most powerful sentences into a single composition and recite it as a group while staging a ceremony involving making an offering to the deity.

Tlaloc bearing a basket of maize Stucco and pigments, 400-600 AD Museo Nacional de Antropología, Mexico City

9 work module nephrite a green stone whose name comes from the Greek word "nephros", meaning a kidney. The Greeks believed that an amulet made of nephrite would preserve the wearer from kidney trouble. basalt a dark, or black, volcanic stone that forms when magma comes into contact with water or air and rapidly solidifies. jade a gleaming, translucent green stone held to be far more valuable Many ritual masks in granite, onyx and jade with large ornaments on their ears were also than nephrite. The Aztecs put a tax made for funerary purposes. on jade, which unfortunately resulted Mary Hollingswo in the recycling, and consequent destruction, of numerous older artifacts. masks incense burners small, extravagantly decorated altars used The artists of Teotihuacan excelled in the production of stone masks carved in nephrite, for burning incense during religious basalt and jade. These stones did not come from quarries close to the city but from other ceremonies. regions of Central America, thanks to Teotihuacan's vast trading network. The masks are almost all life-size, but they cannot be worn because they are too heavy and they have neither eyeholes nor breathing holes. For long time people presumed that they were funeral masks, yet these masks were not found in burial grounds but in public buildings. They were probably fixed to the face of wooden statues that have decayed over time. They are shaped like upside-down triangles with a rounded tip, and with small recesses for the eyes and mouth that were then inlaid with shell and obsidian. The holes in the ears and forehead suggest the presence of pendentives and of headgear decorated with feathers, fabric and other perishable materials. The masks have stylized features and display the stony expressions of ancestors or of minor gods. The faces are anonymous, possibly to highlight the importance of equality in Teotihuacan society. Some of the masks, however, are made of painted terracotta with large disc-shaped earrings and butterfly noses. These are often found in the center of ceremonial incense burners or on their lids, and their function was to bring the faithful face to face with the deity or priest whom they had come to venerate. Unlike the stone masks, these terracotta masks do have eyeholes and a hole for the mouth, so that the wearer could see and speak.

activity discover the mask! Make a deck of playing cards using pictures of the masks on display in the exhibition. You will find six of them in the following page. Print as many colored copies as you need. Once you have plastic-coated them, deal them out on the table face down. Turn two random cards over,trying to find masks in the pack that have the same features: raw material, obsidian eyes, butterfly noses, shell teeth and so on. If you turn two the same, pick them up and place them as a pair in front of you. Otherwise, turn them face down again. The aim of the game is to pick up pairs of similar masks by remembering where they were when they were turned over.

10 Anthropomorphic mask with butterfly nose ornament, Anthropomorphic stone mask, 100-650 AD, Anthropomorphic mask with plumed ornament, ceramic, ceramic, stucco and pigments, 500-600 AD, Museo Nacional de Antropología, Mexico City 100-650 AD, Museo Nacional de Antropología, Mexico City Museo Nacional de Antropología, Mexico City

Malinaltepec Mask, with mosaic covering and necklace with Mask with applications and earflares. Anthropomorphic mask. Greenstone. 100-650 AD, pendant. Stone with applications in turquoise, amazonite, Greenstone and diorite. Museo Nacional de Antropología, Mexico City obsidian and shell. 100-650 AD, Museo del Templo Mayor, Mexico City 100-650 AD, Museo Nacional de Antropología, Mexico City

11 work module king conch a large mollusc found in tropical seas, whose pink shell is used in particular in the manufacture of cameos and pearls.

One of the most ancient, universal and, at the same time, enduring uses to which mankind has put the shell is as a horn or trumpet. www.mtsn.it/molluschi

shells

Men have been using molluscs since the dawn of history, either to eat or to use a raw material from which to make tools. Their convex shape meant that they could also be used to hold things. The powder obtained from crushing them was used in the construction industry, mixed with other substances to produce plaster for walls. Shells were also used as a form of coinage because of their symbolic and religious value. The intensity of Teotihuacan's trade with other regions of Central America allowed it to import numerous shells and sea snails from the Pacific Ocean and from the Gulf of Mexico. Symbols of wealth and power, shells were used also for decoration or as offerings to the gods, especially in honor of the dead. The people of Teotihuacan used shells to make bangles, earrings and necklaces. The technique used to pierce them involved rubbing a stick back and forth on the surface, using water and sand as abrasive materials. The shell is associated with the sea, with the sun that rises out of the sea and sets in it, and with the moon that commands the tides and fertility. The largest mollusc species in America, the king conch, was often covered in plaster and frescoed with geometrical motifs and symbols of the calendar cycle, using natural pigments. Wall paintings also show us that the shell was used as a wind instrument, not unlike a trumpet or a horn. The tip of the shell was pierced and polished to allow the player or musician to blow in it.

Conch trumpet painted with calendrical glyphs and feathers, Pleuroploca gigantea, stucco and pigments, 100-650 AD, Museo Nacional de Antropología, Mexico City

12 topic for discussion

the conch shell horn Blowing a conch shell trumpet, or horn, is a tradition common to many eras in history and to many parts of the world. In Central America the conch shell was blown either to call for rain, or to plead for it to stop! It is still blown today to warn of an approaching thunderstorm, to call the flock home, and in some cases even to alert people to the mailman's approach or to take the place of church bells. In the Mediterranean area the conch shell is still used today in the islands of the Aegean, in Croatia, in Sardinia, in Liguria, in Corsica, in Provence and in Majorca, but it goes by a different name in each of these places. What are those names? To find out, conduct a search on the Internet or at the library.

activity post-modern musical instruments You can make an endless range of sounds come out of objects that are easily found in nature.To make drums, whistles, flutes and trumpets, our ancestors used shells, animal bones, stones, wood and walnut shells. If you want to make a wind instrument today, all you have to do is go into a garage or closet and find: a rubber tube about 120 cm. long; an average-sized plastic or copper funnel; and a male plastic faucet coupling. Place the coupling in one end of the tube and the funnel in the other. Put the coupling to your lips like a regular mouthpiece and start blowing. Delight your skeptical audience with the full range of sounds that you can make with your post-modern musical instrument!

Zoomorphic vase, ceramic, pigment, shells and greenstone, 400-600 AD, Museo Nacional de Antropología, Mexico City

13 Teotihuacan. La città degli dei. 09 november 2010 - 27 february 2011 credits Project designed by Educational Services Art Workshop Director Paola Vassalli Project Manager Francesca Romana Mastroianni with Chiara Bandi Suggestions for further reading suggestions for further reading from the Art Francesca Romana Mastroianni Bookshelf Organized by Elena Fierli for adults with Giulia Franchi Philip P.Arnold, L’occupazione del paesaggio. Aztechi ed europei nella valle del Messico, English translation Stephen Tobin Jaca Book 2009 Simone Barcelli, Tracce d’eternità, Cerchio della Luna 2009 Graphic design David Herbert Lawrence, Il serpente piumato, Mondadori 2000 rocchi pavese design Felipe Solís, Teotihuacan. La Città degli Dei, Skira 2010 (exhibition catalogue) information • Max Toth, Greg Nielsen, Roberta Rambelli, L’energia della piramide, studio Tesi 2001 activities and workshops for children Ferninand Anton, Secret world of the Aztecs, Prestel 2002 Let's MIX-MEX Caroline Arnold, City of the Gods: Mexico's ancient city of Teotihuacan, Clarion Books 1994 schools • kindergarten Andrea Belloli, Exploring World Art, Frances Lincoln 1999 and primary schools Marino Benzi, Fiabe e leggende degli indios del Messico, Condaghes 2006 Tuesday to Friday 11.30 am admission J 4.00 (kindergarten: Raphaël De Filippo, L’archeologia a piccoli passi, Motta Junior 2007 admission free) Belinda Gallagher, 100 things you should know about pyramids, Miles Kelly 2009 activities J 80.00 per class group Christiane Lavaquerie-Klein, Laurence Paix-Rusterholtz, Huaca. Trésors des peuples two classes can be accommodated d’Amérique du sud, Réunion des Musées Nationaux 2006 at once (max 25 children per class) Alfonso Pérez de Laborda, Sandro Corsi, Gli antichi astronomi, Jaca Book 2007 booking compulsory (there is no Juan Schobinger, La prima metropoli Teotihuacan, Jaca Book 1994 charge for this service) Maria Teresa Uriarte, L'architettura precolombiana in , Jaca Book 2009 families • children from 7 to 11 years of age Sunday 11 am to 1 pm internet sites activity + admission to the http://teotihuacan.com.mx exhibition J 12.00 http://archaeology.asu.edu/teo booking recommended (there is http://www.in-sieme.it/unesco/messico/teotihuacan.htm a J 1.50 charge for this service) http://www.gobiernodigital.inah.gob.mx/mener/index.php?contentPagina=32 family offer www.templomayor.inah.gob.mx activity + admission to the exhibition www.diegorivera.com J 10.00 per child www.museomuraldiegorivera.bellasartes.gob.mx admission to the exhibition J 10.00 per adult (max 2) children ages 7 to 11 who take part in two workshops associated with the major exhibits at the Palazzo delle Esposizioni and the Scuderie del Quirinale may purchase a special combined photo credits workshop ticket for J 18.00 (C) Consejo Nacional para la Cultura y las Artes – Palazzo delle Esposizioni Instituto Nacional de Antropología e Historia, México. via Nazionale 194, 00184 Rome Photo: Martirene, Alcantara, assistant Olivier Dekeyse www.palazzoesposizioni.it information and reservations schools: tel. 06 39967 200 others: tel. 06 39967 500 Monday to Friday 9 am to 6 pm Saturday 9 am to 2 pm

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