Richly Decorated Sarcophagus from an Ancient Dynasty

EKTA 21660 (6x7CM)

Inventory Number: D 2067

This coffin is currently divided into six pieces. The lid and bottom are detached from the two sides, and some smaller fragments exist. The restoration and study of this coffin began in 2008 by the Department of Egyptian Antiquities and the Near East in collaboration with the Diagnostic Laboratory for Conservation and Restoration of the Vatican Museums. The restoration is part of the Vatican Coffin Project, which is set up for the study of the construction and painting techniques of the Egyptian polychrome coffins. In this intervention, restorers will further study the construction and painting techniques used in the coffin’s construction. They will identify the type of wood used, in order to compare the findings with those of the Vatican Coffin Project. Where possible, the labs will use morphometric investigations to reassemble the different elements of the coffin and reconstruct the missing parts.
The rich decoration of the lid allows us to date the sarcophagus coffin to the XXVI Dynasty. This period was a time of great splendor following a long stretch of crisis that marred the beginning of the first millennium BC. The sumptuousness of the lid offers investigators the opportunity to delve into the history of this period alongside performing the restoration. Among the most significant scene of the so-called “Book of the Dead,” is a funeral ritual frequently seen in the Valley of the Kings and that guaranteed the regeneration of the deceased every day along- side the sun god Ra.

Rare bronze statuette of Anima Buto


Inventory Number: 37393

The statue represents the “genius” of Buto, a personification of the ancient kings of the city of Buto, the modern Tell el-Fara’ in the Nile Delta. This “genius”, also called “soul (ba) of Buto” was a powerful spirit who helped the living king to rule the country and continued to serve the king in his afterlife once he died. According to Egyptian mythology, Buto reigned over Lower Egypt before the country was reunited into a single kingdom at the beginning of the IV millennium BC. The “genius” Buto originates with the falconheaded deity who represents the ancient kings of Lower Egypt. These kings reigned before the beginning of the dynasties. Buto’s counterpart, Nekhen, was jack-el-headed, and represented the predynastic kings of Upper Egypt and the Nile Valley. Traditional Egyptian iconography depicts these deities on their knees. This is the characteristic position of joy, or Henu, the act of greeting the sunrise. They are also frequently shown in midst of ritual celebration.
Bronzes similar to this statue appear infrequently in museum collections, making this piece quite rare. This gem of the Vatican Collection was donated to the Vatican in 1951 by Mrs. Edda Grassi, widow of Carlo Grassi the prolific collector of Pharaonic, Hellenistic, and Roman antiquities.

Year long Patrons’ Office Fellowship



As the Patrons of the Arts continues to grow and expand, the number of projects, events, and visitsfrom our beloved Patrons do too. In order to keep up with this increased activity, our Vatican office has created a new role—the Eleven Month Patrons’ Fellowship.
Since its launch in 2010, this special position has become a crucial part of our Vatican office operations. The longevity and commitment of this position, as opposed to the short, sporadic terms of our volunteer intern program, affords the office an essential level of continuity and the fellow, him/herself, a more comprehensive work experience.
During the course of the year, the one-year intern functions mainly as the visits coordinator, handling all aspects of arranging the daily tours and visits of Patrons from all over the world. This alone allows them to exercise and develop their Italian language proficiency, learn more about the Museums’ structure and operations, hone their writing and
communications skills, and experience the public relations aspect of working in a non-profit organization. The year-long intern greatly helps our office in handling its duties, functioning as a reliable member of the team, adopting long term responsibilities and projects. The position enables the Pa- trons of the Arts to expand, continue, and improve upon our special development projects, from our e-newsletter, social networking platforms, and website to our online fundraising through CrowdRise and content management systems.
Additionally, the office fellow will have the opportunity to develop a familiarity with the office and have a stronger relationship with our patrons through a variety of events, tours, and daily interactions. They will be able to develop a level of Italian language skills at which they can communicate reliably with the Museum Staff and Vatican City community.
This sponsored intern would be able to join the Patrons Office team earning valuable experience with the Vatican Museums, the mission of the Catholic Church, and a non-profit organization. Overall, they gain many valuable experiences throughout the term, from writing and compiling our biannual newsletter to even translating and editing restoration reports. In turn, this intern is expected to serve as the sponsoring chapter’s personal liaison in Rome, available for everything from restaurant recommendations to exclusive guided tours in order to enrich their visit experience. Throughout the year, the Patrons are guaranteed added support from an experienced extra hand, one who will be familiar with the workings of Vatican City, the Museums, and the office itself. This sponsorship ensures that the high standards of service to our Patrons are met by the Patrons Vatican office, all the while creating the opportunity of a lifetime for a deserving candidate to experience the legacy of the Vatican Museums Collection firsthand while working for an amazing cause, furthering the mission of the Patrons of the Arts. After calculating the basic living expenses for an intern over an eleven month period in the city of Rome, we propose the following price for a chapter to sponsor this invaluable position. As it has been in the past, the internship would be named after the sponsoring chapter.

Exhibition: The life of a Swiss Guard, a private, view


Acriter et Fideliter exhibition – Jubilee 2016

In 2016,on the highly anticipated occasion of the special Jubilee of Mercy declared by Pope Francis, the Vatican Museums will inaugurate the first ever exhibition revealing the life of the Swiss Guards. The exhibition will capture the previously unexplored places that characterize the daily lives of the members of a military force that holds unparalleled historical significance. Titled Acriter Fideliter, the motto of the Guard which translates to “strenuously and loyal”, the photographs will weave a narrative about the core morals and practices of the Guard, as protectors of the Holy Father. The exhibition will be displayed in a courtyard of great significance and attention, La Cortile Delle Corazze. All visitors to the museum walk through this space as it is part of the prescribed path one takes, and will have the opportunity to learn about the Swiss Guards, but also the Pope. As the Swiss Guards are a direct extension of the Pope and thus
must always be in accordance with his mission as a holy, and global religious leader, the exhibition will touch on the social influence and goals of the Pope. The exhibition has been curated by the Patrons office and Father Mark Haydu L.C., under the supervision of Dr. Romina Cometti, with contemporary photographer Fabio Mantegna. Alongside the images are extensive text panels which craft edu- cational themes and narrative.  On display will also be examples of the Swiss Guard uniforms, armor, etc..


Photographs and items
“My dear Fabio, you have the eye of a Sherlock Holmes poet”. With these words Arturo Schwarz, a major and eminent international scholar, art historian, poet, writer, lecturer, and curator, expressed his appreciation to Fabio Mantegna. The photographs on display in the Acriter and Fideliter exhibition are beyond the mere documentary, sterile and impersonal reportage. The artistic identity given by Fabio Mantegna to his photographs creates time and space in the surrounding environment. This young artist give us a privileged glimpse into stolen moments, characterized by poetic and personal research, not mystified by the filter of the camera lens. Revealing the inherent individuality of a military body, always shrouded in an aura of mystery, Fabio Mantegna evokes, through harmonic language and an authorial gaze, not only a collective identity, but an intimate, social, mystical consciousness made of ideals and honor. The aesthetic and conceptual honesty with which Mantegna chose to observe a unique reality, like the one of the Swiss Guards, is a vehicle to pass on the memory of an Army of unparalleled value. The photographs were taken over several weeks during which Mantegna was able to participate in the daily life of the Military Corps. An unusual and rare “full immersion” in the Swiss Quarter has allowed the realization of unique shots(oath, leave, confirmation, marriage, sports and military training, dressing, personal rela- tionships). In order to enrich and complete the photographic section, made up of prints of various size, in color and in black and white, the following will be also exhibited:

•  The official Swiss Guards’s uniform-blue, red and dark yellow, with distinct Renaissance traits and other uniforms of Officials, Generals and Commanders.
•  Helmetor’ Morion “- silver hats, adorned with ostrich feathers of different colors depending on the degree of military and some examples from the 1500.
•  The seventeenth century armor raised on special occasions
•  Weapons, halberds and swords

‘Your   historical   uniforms  speak  to  pilgrims and tourists from every part of the world of something that in spite of all does not change, in other words they speak of your commitment to serve God by serving the “Servant of his servants”.’

Address of  his Holiness Benedict XVI to the Swiss Guards And Their Relatives Prior To The Swearing-In Ceremony Clementine Hall Mon- day, 5 May 2008.

_MAN0055Cultural and Social value
The intrinsic value of such an exhibition is to be found in the oneness of a multidisciplinary and experiential path, where the enjoyment is inseparably linked to learning. Perfectly in line with the philosophy and the approach of His Holiness Pope Francis, an intimate and introspective itinerary, made of snapshots and objects of various kinds has been created. Through this media, an international audience of different social, cultural, and religious backgrounds can enjoy a unique and once in a lifetime show.

The Target audience to whom this exhibit is addressed is massive and heterogeneous. Such exposure could arouse interest in an age range between 12 and 90 years old. Our goal is to involve Middle and High Schools-Universities, institutions, and organizations of various kinds in Italy, as well as tourists and pilgrims who will come to Rome during the 2016 Jubilee.

The Cortile delle Corazze is a perfect location for such an exhibition, as it is the central location and provides easy access. Using a banner placed outside the entrance to the Museum, with a section dedicated to the colophon (GSP, the Vatican Museums, Patrons of the Arts) the resonance and flow that such a show could get would bean undoubted success. At the bookshop desks, the exhibition catalogue and other information materials will be sold.

_MAN5418Financing of the project
We are seeking the support to organize this temporary exhibition in the Cortile delle Corazze, Vatican Museums. This support will cover costs including the printing of the photographs, the framing of these images, hanging the exhibition, display cases for the armors, helmets, swords etc.) Printing didactic materials and panels, and publishing a catalogue. We would also like to tour the exhibition after its period at the Vatican to reach beyond the visitors of the Museums. We plan to tour the exhibition to the institutions in the cities were we have active Patrons and Chapters. We look forward to honoring the Patrons who are able to support this project with status of guest of honor at each exhibition opening, hosting private Patrons viewings sharing our work and attracting new members, as well as securing public legacy in the cultural institution where the exhibition is held. For touring the exhibition, funds will be raised by the interested Chapters used to secure proper shipping of all didactic materials, artwork, and objects such as the armor, swords, etc.

Analysis of Costs
Printing and framing for 50-60 photographs different sizes: € 4.000,00
Mounting of the Exhibition, 12 panels for the display, showcases for the armors, helmets and objects, 4 perspex cylinders for protection of the mannequins (all these items are completed and ready for packing the entire exhibition and send it oversea if required), 6 totems to indicate the exhibition and location, 2 banners, tombstone labels for photographs, 16 “alabarde” in plate to decorate the panels, graphic, lights and other equipments: € 70.000.00
Graphic Design; € 2.500.00
Texts and Contents: € 2.000,00
Catalogue in 2 languages Edizioni Musei Vaticani  IT and EN: € 30.000,00
Translation: € 2.000,00
Editing: € 1.500,00
Curatorial and Photographer: € 10.500.00

The invitations and Press Releases will be organized by the Vatican Press Office and the Vatican Museums will organize the venue.

Tapestry with the wedding of Emperor Luis XIV

Inv 43752

Inventory Number: 43752

This tapestry is an 18th century copy of a 17th century original, completed in the workshop of Gobelins after a design by the artist Charles Le Brun. This tapestry was one of fourteen completed by these artists depicting the acts of King Louis XIV of France, otherwise known as the sun king. As part of a program undertaken by the Petite Academie to decorate the royal residences, King Louis XIV commissioned Charles Le Brun to depict some of his most illustrious accomplishments. This reliance on art to broadcast the greatness of the king had long been a tradition in France, but the Sun King took it to a new level with his construction of the great palace of Versailles. Le Brun’s original designs were grand images of the King accompanied by the Olympian gods.
These designs were refused by the King in favor of more realistic depictions of his civil and military accomplishments. The King was particularly fond of images depicting his role in the War of Spanish Succession, in which his marriage to the Spanish Hapsburg princess Maria Theresa played a crucial role.
King Louis XIV married his double first cousin, Princess Maria Theresa Hapsburg, in November of 1658 in an attempt to secure peace between France and Spain, who had long been at war. Louis marriage to a Hapsburg princess was a personal as well as military victory, as it secured him a reasonable claim to the Spanish throne during the War of Spanish Succession. The pair had six children, of which only one survi- ved to adulthood: Louis, the Gran Dauphin. This tapestry is currently on display in the Basilica of St. John Lateran.

Sphere within a Sphere by Arnaldo Pomodoro

A. Pomodoro, Sfera con sfera, bronzo, 1990, Musei Vaticani, Cortile della Pigna

Inventory Number: 24850

Arnaldo Pomodoro was born in Morciano di Romagna (Rimini) in 1926. Between 1949 and 1952 he attended the Art Institute of Pesaro where he pursued his interest in scenic design and jewelry. In 1954 he moved to Milano, where he became acquainted with the fervent cultural environment of the city, spending time with artists as Lucio Fontana and Enrico Baj. At the same time, he began to exhibit in Italy and abroad.
The first sculptures date back to the mid-fifties: reliefs modeled in iron, tin, lead, silver and bronze. The desire to try out new ways of form and expression is strongly evident. In 1959 he went to the United States where he met the sculptors David Smith and Louise Nevelson, Allen Ginsberg and Gregory Corso; he was invited to teach at prestigious Universities such as Stanford and Berkeley. In 1960 he joined the group “Continuità” which includes also Bemporad, Consagra, Fontana, Perilli, Novelli, Tancredi, Turcato, D’orazio and his brother Giò Pomodoro. In this context he deepened the research between matter, materials and sign and refined his stylistic balance between external and internal geometries.
The sculptures of the sixties mark the opening of his research from the frontality of the relief to the spatial complexity of the shapes. Starting from abstract and geometric researches as well as from informal art, Pomodoro comes to simple forms, rigorously aggregated. On the shiny and smooth surface emerge lacerations and perforations of gears, as if it were autonomous and transparent mechanisms.

Throughout his long and well-known international career, Pomodoro received many commissions both public and private around the world. His monumental works are currently placed in large squares, in Italy and abroad, as the Sfera in front of the United Nations Building in New York. He currently lives and works in Milano in his studio located in Porta Ticinese. In 1995 he established the Arnaldo Pomodoro Foundation in Milano, which aims to promote studies on the history and criticism of the sculpture process in the twentieth century. Since the sixties, Arnaldo Pomodoro, fascinated by the geometry of the sphere, began to create numerous versions of it, often designed to be located in urban areas of great importance. Among many great examples, there are Sfera Grande, made in 1966, for the Italian Pavilion at the Expo in Montreal, currently located in front of the Ministry of Foreign Affairs in Rome, and Sfera con Sfera, 1991, located in the Square of the United Nations in New York.
The artist considers this geometry “perfect, magical” and is attracted by the possibility of discovering “internal, mysterious, living, monstrous, and pure fermentations.”
Therefore, he does not create frozen and impenetrable elements, but responds instead to the inherent need of humans to discover by creating spheres that can move and rotate, thus forming a connection with both the visitor and the surrounding space.
Pomodoro uses the surrounding context of is works to determine the size and the development 70 of their internal gears, splits and indentations. Created between 1989 and 1990, the monumental Sfera con Sfera, placed in the Cortile della Pigna, is the outcome of a project launched in 1963 and resulted from an idea by Carlo Pietrangeli, Director of the Vatican Museums at that time, and Italo Mussa, his former assistant at the Capitoline Museums. In the great Renaissance courtyard there was a fountain, removed in the nineteenth century to accommodate the base of the column of Antoninus Pius, replaced after 1870 by a column commemorating the First Vatican Ecumenical Council, which was later removed for stability problems.
It was also on this occasion that it was proposed to Arnaldo Pomodoro to design a sculpture for this open space; the sculptor used the surrounding architecture as a starting point in order to decide the sculptures proportions.
As he recounts on September the 27th, 1990 in his inaugural address: “My study of the proportions of this sculpture has been linked with both the pinecone, with the staircase of Michelangelo, which leads to the balustrade, and, especially, with the space of the courtyard, which has influenced me for its perfection of opening to the sky and to the inner life, in the combination of all the buildings. I must say that, lately, watching the courtyard, the idea was to repeat the size of the arc, namely, that this form repeated constantly, of about 4 meters, had – in my opinion – to be the diameter of the ball.”

Shields of the Prince Warrior



Inventory Number: 20544 – 20551

The individuals who discovered the eight large, finely embossed bronze shields, hung upon the walls of the tomb, were very impressed by their grandeur. The shields appeared very fragile, even if they were at one point reinforced by wood or leather covering, although we have no evidence of this. Their fragility indicates that they were meant merely as indications of rank, traits of the prince-warrior, rather than true and typical weapons. The decoration consists of geometric motifs of ancient tradition, and in some cases, also includes friezes completed in the Orientalizing style with figures of animals. The intended restoration will be the first to be carried out with scientific methodologies since the discovery of the shields two centuries ago and many decades after some early restoration attempts. The shields are extremely fragile and fragmented with gaps on 20-90% of the surface. They are now mounted on supports made of acrylic material. The intervention will primarily focus on the cleaning of the surfaces, the prevention of further corrosion, the restoration and the strengthening 0f cracks, the application of resin integrations that will ece more cohesive, and color treatments. Simultaneously, researchers will create accurate graphical and photographical entation that will help to clarify details of the decoration and its technical details for further study and subsequent lication. The analyses will allow researchers to identify components of the constitutive alloy.

This information will give a wealth of information about the history of the hields, from their deposition in the tomb in the 7th century BC until their restorations in the 19th and 20th centuries. These pieces are expected to return on display in e Estruscan Museum.

Wheelchair Lift for the Pius Christian Museum



The Pius Christian Museum houses the largest collection of early Christian sculptures in existence. The exhibition winds through the large rooms of the ‘Pauline Museum’, designed between 1964 and 1966 by the prestigious Passarelli Studio Architects to house the works that had been transferred to the Vatican from the Lateran Museum in the 19th century.
The Pius Christian Museum has four different levels that allow visitors to enjoy some of the major masterpieces of Christian sarcophagi, and offers picturesque views over the surrounding areas. For example, inside the museum one can either look down, to an area below Gregorian Profane Museum with excellent late antique mosaics from the Baths of Caracalla, or look to the outside world, the Vatican Gardens dominated by St. Peter’s Basilica.
To allow all the visitors to enjoy the collection regardless of physical ability, measures have been taken to eliminate architectural barriers by installing special ramps that remain at a constant slope. In one case this was not possible and, in 2004, the original stairs were fitted with an electric stair lift thanks to the generosity of the Pennsylvania Patrons of the Arts in the Vatican Museums. After more than ten years of assisting thousands to comfortably visit the museum, the stair lift continues to perform its function. Lately, however, the wear of continuous use and defects in the mechanism, have made it necessary to replace the existing stair lift with a new, upgraded, and versatile model that will continue to guarantee all visitors have the opportunity to access the Pius Christian Museum.

Vatican Exhibition: “A Century of Graphic Art”




This exhibition, dedicated to XX century images from the Contemporary Art Collection of the Vatican Museums, comes from the desire to make lovers and specialists of modern and contemporary art aware of the wonderful graphic masterpieces of the collection that are, for the most part, very little known.
Founded in 1973, the core of the Contemporary Art Collection now boasts about 4.000 works, including prints and drawings. For conservation reasons, the pieces rotate through the rooms of the museums devoted to contemporary art, meaning that only a few pieces of the collection are on display at any one time. The core, particularly wide and rich, documents a century of artistic production, both Italian and foreign, and includes some truly exceptional pieces. Some of the important international artists represented in the collection are Braque, Denis, Ernst, Klee, Kandinsky, Kokoschka, Matisse, Munch, Nolde. Among the Italian artists represented are Cambellotti, Morandi, Casorati, De Carolis, Lorenzo Viani. This exhibition aims to present a selection of about 100 engravings and prints organized by author’s name, cronology and artistic theme. These prints will be presented side by side with paintings, sculptures and drawings. The choice to focus on graphic production of engravings and prints, comes from the desire to reflect on the linguistic implications that accompany the extraordinary variety of techniques offered by this type of work, with each artist altering the artistic medium to suit his or her specific artistic needs.
The anthology of selected works testifies to the great experiment of graphic production in the 20th century visible through the birth of modern screen printing and new methods of mechanical reproduction. This includes the use of never before used materials, such as linoleum, and the review of traditional methods, frequently combined with innovative procedures to create ever-varied outcomes. The exhibition, organized in thematic sections, aims to stimulate the visitor to investigate the comparisons, relationships, and similarities between the works.


13_WatanabeIcons and storytelling section
This section compares masterpieces that belong to two figurative artistic poles: “icon” and “narrative.” Modern interpretations of the Byzantine icons or iconographic subjects – God the Father, Christ, the Virgin and Child – are juxtaposed with “narrative” images. These two methods of representation often share a panoramic format that favors the development of a spatial and temporal dimension. Artists such as Kandinsky, Nolde, Beckmann, Pechstein, Cambellotti, Lorenzo Viani are all represented in this section.

The sentiments of the sacred section
This section emphasizes the wide range of human feelings contained in the sacred iconography, from the most frequently represented, such as the maternal love of the Virgin (represented by Carra, Matisse, and others), to the more unusual, such as subjects taken from the Old and New Testament, like The Kiss of Judas by Casorati, Susanna and the Elders by Tappert, and Saul and David by Dix. The sense of protection and amazement brought on by manifestations of the sacred representations and the subsequent moments of prayer are brilliantly captured by Munch, Nolde, and Denis.

Suffering in sacred art and etchings of  War section
During times of war, especially in the years of the two World Wars, many artists devoted great creative energy to sacred subjects that served as metaphors for the current state of the world. The works of Casorati, Chagall, Kokoschka, Marino Marini, Messina, Moore, Rouault, and Sutherland presented in this section are connected by the common thread of suffering and injustice.

Footprints of reality section
Faces of family, still lives, representations of everyday objects, and corners of landscapes are the focus of this section. It is almost entirely comprised of Italian artists who presented an intimate look at everyday things, such as Morandi, the undisputed master of engraving unique and perfect everyday visions. Also in this section are lesser-known artists such as Boccioni and Nunzio Gulino, Primo Conti, and the Slovenian, Zoran Mušič.

The city and architecture section
This section presents a small precious nucleus of views of the cities of the Tens and Twenties. Particularly well represented in this section are works made by the masters of engraving and lithograph, Bucci, Nolde, Delaunay, and works from the Bauhaus artists Klee and Feininger. There are also exact representations, or fantastic interpretations, of churches and monuments, and a series of serigraphs by Mario Radice reproducing his paintings for “Casa Terragni” in the 1930s.

Technique: tradition and experiment section
This section presents a comparison between the sheets and wooden matrices of Japanese artists – Akusawa and Watanabe – and Italian artist – Bruno da Osimo and Venturino Venturi. It inquires about  the  differences  and  similarties  between works created by different cultures and different uses of the same technique, woodcut, but with the same materials, wood and ink.

Form and Color Section
This section presents a comprehensive overview of Italian and foreign artists, who have researched the full abstraction of the 1900s. These works represent such diverse techniques as lithography, silkscreen, etching, aquatint, and collagraph, by artists as widespread as Braque, Ernst, Miro, Consagra, Fontana, and Melotti. The results illustrate the wide variety of formal experimentation generated by the dialogue between figure and abstraction, and the wealth of the combinations resulting from the distinct worldview of the artists.

The resurrection of Fazzini Section
This section is a small tribute to the Pope who founded the Collection of Contemporary Art, Paul VI. Pericle Fazzini created the big sculpture Resurrection for the Aula Nervi, realized under Pope Paul VI. Several studies for the artwork are exhibited in this section, in order to give the opportunity to compare the similar outcomes achieved through different mediums.

Analysis of Costs
Installation/Education: 130.000,00
Catalogue IT/EN: 40.000,00
Compensation for Essays: 5.000,00
Press and Graphics: 5.000,00

University Pass Program

sotheby's group 2

This past year, students from all over the world were given an exclusive experience at the Vatican Museums, including unprecedented and convenient access, dynamic lectures, private tours, and merchandise discounts all as a part of our partnership program with universities.
These partnerships allow universities to receive recognition for restoration of crucial elements of our museums while giving their students the opportunity of a lifetime that students will love. Last year we welcome students from the Sotheby’s Institute of London, the University of Steubenville and Marist College, to name a few, and received raves from students and faculty.
This becomes a formative experience for students who are not only given the rare chance to learn from Vatican Museum experts but also to see the importance of a life filled with philanthropic care. The University partnership is one that truly provides a spiritual and classical education.
If you or someone you know is linked to a university and may be interested please keep this program in mind. It’s a wonderful way to spread the word of our mission! For a donation to the Restoration & Preservation Efforts of the Vatican Museums, your school can have an exclusive, behind the scenes experience at the Vatican.

This Special University Pass Includes:
– Up to 30 individuals per visit, one visit per semester for a total of two visits
– Complimentary entrance
– Private, Official Vatican Museums Guide
– No wait in line, your group will be met at the Museum Exit at the Viale Vaticano
– Includes a semi-private viewing of the Sistine Chapel
– Visit one Restoration Lab, meet restorers and learning about the restoration process
– A 30% discount in the Vatican Museums shop on the day of the tour
– Your school will receive the Vatican Museums Report
– Your school will receive the Vatican Museums eNewsletter
– A plaque displaying your school’s name alongside the masterpiece which your funds restored
– The unrivalled experience of preserving one of theworld’s foremost art collections and sharing in the legacy and heritage of the art of the Vatican Museums!