![]() ![]() After completing his education at Ecole des Mines de Nancy, Philippe Case had completed his undergraduate degree in Metallurgical Engineering at Stanford University.Philippe Cases' previous experience:- Philippe Case has been a Management Consultant with PricewaterhouseCoopers since 2000- Philippe Case has been with PricewaterhouseCoopers since 2000 as a Management Consultant. In1996, Philippe Cases earned his Master of Science (M.Sc.) in Management from Stanford University Graduate School of Business. He also has experience as a Chief Executive Officer at Topio Networks from August 1997 to December 2007. He is currently a Board Member at JasperSoft from 2005 to April 2014, a Board Member at Silk Apps from August 2012 to July 2016, a Partner at Sofinnova Ventures from 1994 to 1996, an Investor at Apangea Learning from 2007 to February 2015 and a CEO at ReadWrite Labs in San Francisco Bay Area from February 2008 to August 2016. “He lived to be 89 years old and never stopped getting better and better.Philippe Cases has 7 years of experience in the area of technology punditry supporting and engaging with leaders, entrepreneurs, venture capitalists and investment banks around the world. “This is a person who had infinite capacity,” says Wallace. Standing within its four walls, dimly lit by a small corner window, it’s as if one is peering into the mind of Michelangelo, whose breathtaking artistry fills the building. The room evokes an emotional response among viewers lucky enough to see it. “You feel closer to the working process of a master and his pupils and assistants.” (Also see pictures by an incredible artist who can draw a whole city from memory.) Still, he adds that the mystery of who crafted the drawings does not take away from their value or the importance of the discovery. “Separating one from the other is almost impossible,” he says. Several of the drawings might be Michelangelo originals, Wallace says, but others were likely depictions by workers sorting out artistic dilemmas or simply amusing themselves during breaks. He also suspects that the drawings were completed earlier, some time in the 1520s, when Michelangelo and his many assistants would have taken respites from laying brick and cutting marble for the New Sacristy they were building above. Wallace believes that Michelangelo was too prominent to have holed up in the lower-level room, and instead he would have been taken in by one of his other patrons. The drawings on the walls represent works he intended to finish as well as masterpieces he completed years earlier, she says, including a detail from the statue of David (finished in 1504) and figures from the Sistine Chapel (unveiled in 1512). “Naturally, Michelangelo was afraid,” says Bietti, “and he decided to stay in the room.”īietti suspects that Michelangelo spent his sequestered weeks taking stock of his life and his art. With their return to power a few years later, the 55-year-old artist’s life was in danger. A popular revolt had sent the city’s Medici rulers into exile in 1527, and despite their previous patronage of his work, Michelangelo had betrayed the family, aligning himself with fellow Florentines against their rule. Photograph by Paolo Woods, National Geographic (Left) and Photograph by Getty Images (Right)ĭal Poggetto concluded that the artist took cover inside the chamber for about two months in 1530 to hide from the Medici family. This sketch calls to mind the distinctive pose of the statue of Apollo-David, an unfinished work attributed to Michelangelo. As the coating disappeared, dozens of drawings emerged, many of them reminiscent of Michelangelo’s great works-including a marble sculpture of a human figure adorning the tomb of Giuliano de’ Medici in the New Sacristy above, which Michelangelo himself designed. Under Dal Poggetto’s direction, experts spent weeks meticulously removing the plaster with scalpels. “When we have very old buildings, we must pay attention,” says Monica Bietti, Dal Poggetto’s successor at the Medici Chapels. (See “How Do You Find a ‘Lost’ Masterpiece?”) This being Florence, home to many of history’s towering Renaissance artists, he suspected something valuable might be lurking underneath the layers of plaster. The artwork is visible today because Dal Poggetto took no chances when he first entered the chamber. ![]() Photograph by Paolo Woods, National Geographic (Left) and Photograph by Getty Images (Right) The rough outline may be a version of a figure from Michelangelo's paintings in the Sistine Chapel. A charcoal drawing of the back of a human figure appears on one wall of the hidden chamber.
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