Guarino Guarini - architect

Baroque master who shaped the identity of Turin

Guarini's daring geometrics brought a
new dimension to the architecture of Turin

Guarino Guarini, an architect regarded as one of the most transformative figures in the architectural history of Turin, died on this day in 1683 at the age of 59.

Guarini enjoyed the patronage of the House of Savoy from 1666 until his death, during which time he is said to have built or submitted designs for as many as six churches and chapels and five palaces in the city. He reportedly designed a gate to replace the existing Porta di Pio, although it was never actually built.

Of those projects that progressed beyond the drawing board, his Church of San Lorenzo, with its structurally daring dome, the Chapel of the Holy Shroud and the Palazzo Carignano, notable for the rhythmic curves of its facade, are regarded as his most notable achievements.

The circumstances of Guarini’s death are not documented beyond his being in Milan at the time. His presence there may have been connected with his Architettura Civile, the treatise which became a reference point for many of his architectural successors, upon which he was still working at the time of his death. 

He also remained active in the Theatine Order - he was ordained a priest in 1648 at the age of 24 - and may have been in Milan to teach or to pursue other Theatine business, the order having a tradition of architectural patronage.

Guarini was born in Modena in 1624. Coming from a religious family, Guarino and his four brothers all became novices in the Theatine Order, Guarino being despatched to serve his novitiate at the monastery of San Silvestro al Quirinale in Rome.

In the event, he stayed in Rome for nine years, learning from the most innovative Baroque architects of the period. Francesco Borromini, whose spatial complexity and elastic geometry left a lasting imprint on Guarini’s imagination, was a major influence, as to a lesser degree was Gian Lorenzo Bernini. 

He returned to Modena in 1648. He combined his duties as a priest and  a lecturer in philosophy at the Theatine College with architectural projects for the Order, beginning with the reconstruction of the Church of San Vincenzo in Modena.

The undulating facade of Guarini's Palazzo Carignano,
a Baroque masterpiece in Savoyard Turin

Guarini also worked in Messina in Sicily, where he built the façade of the Church of Santa Maria Annunziata for his Order, providing early evidence of his willingness to experiment with design. He constructed the façade diagonally to the nave, so that it could conform with the line of the street. The church was destroyed in an earthquake but drawings show plans for complex vaulting and spatial layering. 

From Messina, Guarini moved to Paris, where a number of projects showed the influence of Borromini on his construction methods. Appointed a lecturer in theology at the Theatine School in Paris, he might have stayed much longer but for disagreements over the management of funding for the Church of Sainte-Anne-la-Royale, which he had been invited to design. Instead, he left for Turin.

It was in the capital of the Duchy of Savoy that Guarini produced his greatest work, his buildings there being defined by intricate geometries, interlaced ribs, and dramatic manipulation of light.

Among the most striking examples is the Real Chiesa di San Lorenzo, a Baroque-style church adjacent to the Royal Palace of Turin, which bears influences of Borromini and Bernini. In accordance with Guarini’s ambition ‘to erect buildings that were very strong, but looked so weak as to need a miracle to keep them standing,’ the dome of San Lorenzo was a masterpiece of spatial illusion, its structure appearing to be held up by slender columns, whereas the load-bearing was really down to massive brick arches hidden from view.  Its star-like pattern of interlocking arches dissolves the boundary between structure and ornament.

Guarini's beautiful cupola in Turin's Church of
San Lorenzo seemed to defy the laws of physics

The light that floods the interior creates a luminous quality, something also characteristic of the Chapel of the Holy Shroud, a building attached to the Royal Palace, a project started after Charles Emmanuel II, Duke of Savoy, impressed with his work on the Church of San Lorenzo, named him Royal Engineer and Mathematician in May 1668.

The chapel uses stacked, progressively narrowing arches to create a soaring vertical ascent, culminating in a lantern that floods the space with symbolic light. It remains one of the most technically daring domes of the Baroque.

Yet some regard the Palazzo Carignano in Turin, which showcased Guarini’s command of undulating façades and dynamic massing, anticipating styles that would become characteristic of later Baroque and Rococo. 

Built for Emmanuel Philibert, Prince of Carignano, heir to Victor Amadeus II, Duke of Savoy, it is regarded as one of the finest urban palaces of the second half of the 17th century in Italy.  In addition to its distinctive terracotta façade, the palace stands out for its atrium with double staircases and a double dome in the main salon. 

Guarini wrote prolifically throughout his career, producing treatises on  mathematics and astronomy as well as architecture.  He published books at the rate of one every other year and his major work, Architettura Civile, was published posthumously in 1737, bringing together previously unpublished manuscripts on architecture, surveying and drawing. 

Filippo Juvarra built
on Guarini's legacy

This text circulated widely in 18th‑century Europe and became a key reference for architects seeking alternatives to classical orthodoxy. Guarini’s influence can be seen particularly in the Central European Baroque styles that became prevalent in Bohemia, Austria and southern Germany. 

Nearer to home, Piedmontese architects such as Filippo Juvarra, responsible for the monumental Basilica of Superga and the Palazzo Madama among other great works, and later Bernardo Vittone, who built some of the finest churches not only in Turin but across the whole region,  absorbed and expanded Guarino’s geometric daring.

Guarini sits in a remarkably elevated position among the architects who shaped Turin. The buildings he created can be said to have fundamentally altered the city’s architectural language.

Where Amedeo di Castellamonte planned many of the Savoy projects, giving Turin its ordered urban structure, Guarini reimagined them, introducing spatial complexity and daring geometry.  Juvarra admired Guarini’s work and built on his legacy, while taking fewer risks, yet Vittone’s domes and lanterns would have been unthinkable without Guarini’s precedent.

The Palazzo Madama, designed by Filippo Juvara,
can be found on Turin's Piazza Castello

Travel tip:

Turin became the capital of the House of Savoy in 1562, when Duke Emmanuel‑Philibert transferred his ducal seat from Chambéry to Turin. This move marks the beginning of Turin’s transformation from a provincial stronghold into a consciously designed capital city.  Much of the architecture of Turin illustrates its rich history as the home of the Savoy Kings. In the centre of the city, Piazza Castello, with the royal palace, royal library, and Filippo Juvarra’s Palazzo Madama, which used to be where the Italian senate met, showcases some of the finest buildings in ‘royal’ Turin, including the Palazzo Reale, to which Juvarra and Amedeo di Castellamonte both contributed, and the Teatro Regio, built to Juvarra’s plans after his death. Some members of the House of Savoy are buried in Turin’s Duomo in Piazza San Giovanni, built by Amedeo de Francisco di Settignano. Guarini’s adjoining chapel, of course, is famous for being the home of the Turin shroud, which many people believe was the actual burial shroud of Jesus Christ.  At the centre of the historic city, Piazza Castello is a hub that connects Via Po, Via Roma and Via Garibaldi.

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Luigi Bartolomeo Avanzini's huge Ducal Palace,
built as a home for the Este Dukes of Modena

Travel tip:

Modena, where Guarino Guarini was born, is a city on the south side of the Po Valley in the Emilia-Romagna region.  It is known for its car industry, because Ferrari, De Tomaso, Lamborghini, Pagani and Maserati have all been located there.. One of the main sights in Modena is the huge, Baroque Ducal Palace, begun by Francesco I on the site of a former castle in 1635. His architect, Luigi Bartolomeo Avanzini, created a home for him that few European princes could match at the time. In the Galleria Estense, on the upper floor of the Palazzo dei Musei in Modena, is a one-metre high bust of Francesco I d’Este, Duke of Modena, by Gian Lorenzo Bernini.  The Cathedral of Modena and its bell tower, Torre della Ghirlandina, are both UNESCO World heritage sites. The tower stands more than 89 metres (292ft) tall and can be seen outside the city from all directions. Inside, there is the Sala della Secchia room, which has 15th century frescoes, and the tower also houses a copy of the oaken bucket, from the War of the Bucket referred to by Tassoni in his poem, which was fought between Modena and Bologna in 1325. The statue of Alessandro Tassoni, which stands at the foot of the tower, was sculpted by Antonio Cavazza and erected in 1860. Modena is also well known for its balsamic vinegar, while operatic tenor Luciano Pavarotti and soprano Mirella Freni were both born in the city.

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More reading:

Filippo Juvarra, the architect behind the magnificent Basilica of Superga

Carlo Mollino, Turin’s 20th century ‘Renaissance man’

Alessandro Antonelli, the creator of Turin’s striking Mole Antonelliana, the tallest unreinforced brick building in the world

Also on this day:

1483: The birth of writer and diplomat Francesco Guicciardini

1779: The birth of Papal executioner Giovanni Battista Bugatti 

1853: The premiere of Giuseppe Verdi’s opera La traviata

1933: The birth of Augusto Odone, who invented ‘Lorenzo’s Oil’ for sick son

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Angelo Italia - architect

The Chiesa Madre in Palma di Montechiaro
  had similarities with Noto cathedral 

Friar who advanced development of Sicilian Baroque

The architect and Jesuit friar Angelo Italia, who was an important protagonist in the development of Sicilian Baroque as an architectural style, was born on this day in 1628 in Licata, a town on the southern coast of Sicily, about 45km (28 miles) east of Agrigento. 

In later life, Italia was one of the architects commissioned to work on the rebuilding of cities in the south-eastern corner of the island, following the devastating earthquake of 1693. 

He was particularly influential in the design of the reconstructed cities of Avola and Noto, where the beauty of the architecture still attracts tens of thousands of visitors each year.

Individual buildings attributed to Italia include the Chiesa di San Francesco Saverio in Palermo, the Chapel of the Crucifix in the cathedral at Monreale, and the Chiesa Madre Maria Santissima del Rosario in Palma di Montechiaro, not far from Licata, with a facade flanked by two bell towers, at the top of a long, scenic staircase, similar to that which characterises the impressive cathedral in Noto.

He became a Jesuit friar in 1671 and resided in the Jesuit College in Palermo, where he died in 1700 a few days before what would have been his 72nd birthday.

Italia’s background is not documented with certainty but his father, Francesco, is thought to have been a master bricklayer and contractor in Licata, where Angelo likely began his career as a stonemason before beginning to take on design projects.

The design of the church of San Francesco Saverio
in Palermo is attributed to Angelo Italia 

Much of his work was influenced by where his Jesuit calling took him. For example, he spent his novitiate in Messina, between 1671 and 1672, which probably explains why his work was heavily influenced by that of Guarino Guarini, an architect from Modena who is remembered as one of the most important exponents of Piedmontese Baroque, but who spent several years in Messina and designed a number of notable buildings.

Some architectural historians believe elements of Italia’s work point to him having spent some time in Rome, suggesting detailed knowledge of the works of Francesco Borromini and Girolamo Rinaldi, who were both contemporaries, can only have been acquired by having travelled to the city, although no evidence has been uncovered that he did.

Before he joined the Jesuit order, Italia is thought to have worked primarily with his father around Licata. Stylistic elements of the church of Sant'Angelo Carmelitano in Licata, especially the facade, suggests that this may have been his debut project in around 1653.

After he entered the order, he would primarily have worked in the service of the order, as was customary. His projects in Palermo at that time included the churches of San Francesco Saverio and Del Gesù, the second of which was destroyed in World War Two.

The cathedral at Noto, where Italia was
closely involved in reconstruction work

It is thought that he subsequently moved to various locations in Sicily, at the request of local Jesuit headquarters, including in Mazzara, Mazzarino and Polizzi. He also accepted a commission from Carlo Carafa Branciforte, Prince of Butera, for the construction of the church of Santa Maria della Neve in Mazzarino .

After the earthquake of 1693 that flattened large areas of south-eastern Sicily, destroying or severely damaging at least 70 towns and cities, including Catania, Siracusa, Noto and Acireale, Italia was among many architects called upon to assist in the reconstruction.  Italia worked primarily in Avola, Lentini and Carlentini, and Noto.

In Avola, while he left the building work to others, Italia designed a grid of streets within a hexagonal square, with walls, bastions and moats, although these no longer exist. He also moved to city from its original location to a flat area nearer to the sea.

His designs for Lentini and Carlentini, two neighbouring towns between Catania and Siracusa, also involved relocating the towns from their original sites. The relocation was rejected and although new urban areas were built on the original sites, the expense involved dwarfed Italia’s original plan.

Italia’s involvement in the Noto project is unclear, with other architects and engineers given credit for different elements, but it seems to be accepted that moving the city from its original location to another 8km (5 miles) away was Italia’s suggestion, as was following an urban plan based on Palma di Montechiaro. 

Sandy beaches and rocky coves are a feature of
the coastline around Licata 

Travel tip:

Licata, where Angelo Italia was born, is a seaside resort and an important port situated on the southern coast of Sicily between  Agrigento and Gela. Some 20km of seafront, a mix of sand and pebble beaches and reefs to the west, is a major pull for tourists but the town also has much history, having been at times under the control of the Phoenicians, the Carthaginians, the Romans, the Byzantines, the Arabs, the Saracens, the Normans, the Turks, the Spanish and the French. Current attractions include the Castel Sant’Angelo, built by the Spanish, and the remains of an ancient Greek acropolis. The main church is Santa Maria La Nova, built in the 15th century, and there are several interesting Liberty-style buildings including the Palazzo di Città, designed by Ernesto Basile, the Teatro Re Grillo and the Parco delle Ville Liberty.

The Castello di Montechiaro is now a sanctuary
dedicated to the Madonna del Castello

Travel tip:

Built on a hill overlooking a valley, which stretches down to the sea, Palma di Montechiaro enjoyed some fame as a fiefdom of Donnafugata in the novel The Leopard. The village is renowned for its mother church, Chiesa Madre Maria Santissima del Rosario in Palma di Montechiaro, which Italia designed and is considered to be among the most iconic examples of Sicilian Baroque architecture. Also notable are the Ducal Palace, a Benedictine Monastery and the Castello di Montechiaro, now a sanctuary dedicated to the Madonna del Castello, and Torre San Carlo, a four-sided tower on a base shaped like a truncated pyramid.   The Chiesa Madre, designed by Angelo Italia, bears many similarities with the cathedral at Noto, which was part of Italia’s plans for the reconstruction of that city after the earthquake of 1693.

Also on this day:

1587: The birth of Victor Amadeus I of Savoy

1639: The birth of painter Giovanni Battista Gaulli

1898: Italy’s first football championship

1960: The birth of footballer Franco Baresi

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