probably dated back thousands of years (…) he introduced me to Centéotl, a corn goddess, near whom Tlaloc was sitting, god of the waters (...)". The foregoing demonstrates the great veneration that Diego Rivera had towards his pre-Hispanic artworks, as well as the appropriate manner he approached them. It is worth mentioning that the painter, together with Manuel Gamio, participated in esoteric ceremonies at the top of the Pyramid of the Sun, since both of them formed part of the Rosicrucian lodge "Quetzalcóatl". Those spiritual practices could explain that the Mexican State thinkers saw in the ancient monoliths the power to reinvent the national culture. In short, these artifacts were perceived as both means of spiritual connection as well as tools for asserting high political status. In 1950, the then director of the National Museum of Anthropology, Daniel Rubín de la Borbolla Cedillo (1907–1990), carried out a project in collaboration with the Directorate of Primary Night Education. The initiative consisted of a traveling exhibition of pre-Columbian art, which should allow students to appreciate an enhanced graphic panorama of pre-Hispanic life. Pieces from the Diego Rivera's collection formed part of this educational art show. Currently, the Anahuacalli Museum houses an estimated 39,000 pre-Hispanic pieces that Master Rivera collected throughout his life. From these numerous artistic heritages, a selection of the 2000 most representative pieces is permanently on display to the public. According to Pellicer: "The extraordinary richness of the collection allowed the organizer of the museum to create scenes of the public and private life of those people. All these niches, are truly amazing". The remaining 37,000 pieces are preserved in the building called Bodega de Colecciones (Collections Storage). Diego Rivera Sketch Collection In the large central space located on the second floor of the Anahuacalli, called "Study", are exhibited 16 sketches for different murals made by Rivera in the early thirties. In them, it is to admire the mastery of classical composition learned by the muralist in his youth. Being a born draftsman, Rivera was able to exploit his skills thanks to his training at the Academy of San Carlos in Mexico (1898–1905), as well as his participation in the European avant-gardes and the knowledge he acquired about traditional art during his residence period in Europe (1907–1921). In his mural work, Diego captures his totalizing conception of history. He portrays the class struggle and its protagonists, as well as the