Question: How old was the Sistine chapel when it fell?
About the article "Sistine Chapel ceiling", section "In popular culture".

Candidate passages:
Grigolo was born in Arezzo, but raised in Rome.
He began singing by the age of four.
When he was nine years old he accompanied his mother to have her eyes tested and, hearing someone singing from another room, he spontaneously began his own rendition of "Ave Maria".
The singer, the optician's father, was so impressed that he insisted Grigolo have an audition for the Sistine Chapel Choir as soon as possible.
Young Vittorio was chosen to become part of Sistine Chapel Choir as a soloist.
He then studied for five years at the Schola Puerorum at the Sistine Chapel. 
The Cappella Paolina (Pauline Chapel) is a chapel in the Apostolic Palace, Vatican City.
It is separated from the Sistine Chapel by the Sala Regia. 
The Sistine Chapel is home to many pieces of art including statues, tapestries, paintings by Michelangelo Buonarroti and much more.
One of the most famous attractions in the Sistine Chapel is the Creation of Adam painting, as well as the rest of the Sistine Chapels ceiling as done by Michelangelo between the years of 1508 and 1512.
It is truly a marvel to see; however, no picture taking is allowed inside of the Sistine Chapel.
There is nothing to fear though.
Online, the Vatican offers a 3D model for the inside of the Chapel.
During the summer, approximately 20,000 people go through the Sistine Chapel per day.
Unfortunately, due to the fact that tourists do not abide the rules of silence and no picture taking inside the chapel, there may be a limit on how many people are allowed to view the inside of the Sistine Chapel per day.
During the time where a new pope is to be decided, the Chapel attempts to prevent people from spreading pictures or other forms of information inside of the Chapel via mobile devices.
The do this by having jamming devices inside of the Sistine Chapel as an attempt to discourage people from using their smart phones and other mobile devices.
This prevented information from being leaked about the Cardinals decision as to who the new pope will be. 
Moreschi's Director at the Sistine was Domenico Mustafà, himself once a fine castrato soprano, who realised that Moreschi was, amongst other things, the only hope for the continuation of the Sistine tradition of performing the famous setting of the "Miserere" by Gregorio Allegri during Holy Week.
When Moreschi joined the Sistine choir, there were still six other castrato members, but none of them was capable of sustaining this work's taxing soprano "tessitura".
Moreschi's star status sometimes seems to have turned his head: "Moreschi's behaviour was often capricious enough to make him forget a proper professional bearing, as on the occasion after a concert when he paraded himself among the crowd like a peacock, with a long, white scarf, to be congratulated ..."The Sistine Chapel Choir was run on traditional lines centuries old, and had a strict system of hierarchies.
In 1886, the senior castrato, Giovanni Cesari, retired, and it was probably then that Moreschi took over as "Direttore dei concertisti" (Director of soloists).
In 1891 Moreschi took his turn as "segretario puntatore", being responsible for the day-book of the choir's activities, and the following year was appointed "maestro pro tempore", a largely administrative post concerned with calling choir meetings, fixing rehearsals, granting leave of absence and the like.
During this year, Alessandro was also responsible for overseeing the choir's correct performance of its duties in the Sistine Chapel.
Artistically speaking, the job involved him in choosing soloists and in developing repertoire.
This entire period was one of great upheaval within the Sistine choir's organisation as well as Catholic church music at large: the reforming movement known as Cecilianism, which had originated in Germany, was beginning to have its influence felt in Rome.
Its calls for the Church's music to return to the twin bases of Gregorian chant and the polyphony of Palestrina were a direct threat to both the repertoire and the practice of the Sistine Chapel.
These were resisted by Mustafà, but time was against him.
In 1898, he celebrated fifty years as a member of the Sistine, but also appointed Lorenzo Perosi as joint Perpetual Director.
This 26-year-old priest from Tortona in Lombardy turned out to be a real thorn in Mustafà's side.
Moreschi was very much a silent witness to the struggles between the forces of tradition and reform, but was also caught up in secular matters: on 9 August 1900, at the express request of the Italian royal family, he sang at the funeral of the recently assassinated king, Umberto I.
This was all the more extraordinary because the Papacy still had no formal contact with the Italian secular state, which it regarded as a mere usurper (see Unification of Italy).
In the spring of 1902, in the Vatican, Moreschi made the first of his recordings for the Gramophone & Typewriter Company of London.
He made additional recordings in 1904: there are seventeen tracks in all.
Between these two sessions, several most fateful events occurred: in 1903 the aged Mustafà finally retired, and a few months later Pope Leo XIII, a strong supporter of Sistine tradition, died.
His successor was Pope Pius X, an equally powerful advocate of Cecilianism.
One of the new pontiff's first official acts was the promulgation of the "motu proprio", "Tra le sollecitudini" ("Amidst the Cares"), which appeared, appropriately enough, on St Cecilia's Day, 22 November 1903.
This was the final nail in the coffin of all that Mustafà, Moreschi and their colleagues stood for, since one of its decrees stated: "Whenever ... it is desirable to employ the high voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church."
Perosi, a fanatical opponent of the castrati, had triumphed and Moreschi and his few remaining colleagues were to be pensioned off and replaced by boys.
A singing pupil of Moreschi's, Domenico Mancini, was such a good imitator of his master's voice that Perosi took him for a castrato (for all that castration had been banned in Italy in 1870), and would have nothing to do with him.
Ironically, Mancini became a professional double-bass player.
Officially, Alessandro was a member of the Sistine choir until Easter 1913 (at which date he qualified for his pension after thirty years' service), and remained in the choir of the Cappella Giulia of St Peter's, Rome until a year after that.
Around Easter 1914 he met the Viennese musicologist Franz Haböck, author of the extremely important book "Die Kastraten und ihre Gesangskunst" (The Castrati and their Art of Singing, published in Berlin in 1927), who had plans to cast Moreschi in concerts reviving the repertoire of the great eighteenth-century castrato Farinelli.
These never came to fruition: by this date Moreschi (now fifty-five years old) no longer had the required high soprano range, and in any case he had never had the necessary virtuoso operatic training. 
While the Sistine Choir has, since its foundation, undergone many vicissitudes, its artistic and moral level fluctuating, like all things human, with the mutations of the times, it has ever had for its purpose and object to hold up, at the seat of ecclesiastical authority, the highest model of liturgical music as well as of its performance.
When the Gregorian melodies were still the sole music of the Church, it was the papal choir that set the standard for the rest of Christendom, both in regard to the purity of the melodies and their rendition.
After these melodies had blossomed into polyphony, it was in the Sistine Chapel that it received adequate interpretation.
Here the artistic degeneration, which church music suffered in different periods in many countries, never took hold for any length of time.
The use of instruments, even of the organ, has ever been excluded.
The choir's ideal has always been that purely vocal style.