GUARINI, Guarino. — Theatrine cleric, architect, b. at Modena on 17 Jan. 1624, d. at Milan on 6 March 1683. In his youth he became a Theatine cleric and, from 1639 to 1645, was at Rome in the Convent of St Sylvester. Returning to Modena, in 1648 his confreres entrusted him with the supervision of the works for the renovation of the church of S. Vincenzo, and in this first undertaking he collaborated with Fr. Bernardo Castagnini, who initiated him in the practice of construction. Elected prepositus of S. Vincenzo, he was compelled to leave Modena following the firm opposition of the ducal court (which would have opposed Castagnini). After staying at Guastalla and Parma, he moved to Messina where, in 1660, he was entrusted with the construction of the churches of the Annunziata, S. Filippo, and the Somaschi, which were later destroyed by the earthquake of 1908.
From Messina G. went to Paris, where he devoted himself to writing his book *Placita philosophica* and was appointed professor of theology. In the French capital, in 1662, he began, at the behest of the Theatines, the reconstruction of the church of Ste-Anne-la-Royale, with a Greek-cross plan and a dome on a drum. He then went to Turin, where he dedicated himself to the publication of his works: *Del modo di misurare le fabbriche* (1674); *Trattato di fortificazione* (1676); *Disegni di architettura civile ed ecclesiastica* (1686). Another work by G., *L'architettura civile*, was published after his death. Elected in 1668 engineer of the Duchy of Savoy, Charles Emmanuel II entrusted him with the construction of the Chapel of the Holy Shroud (attached to the Turin cathedral), which he crowned with his characteristic dome. He also devoted himself to the construction of the Collegio dei Nobili and, for the Theatines, completed the church of S. Lorenzo. In 1679, by order of Emmanuel Filibert, he began the façade of Palazzo Carignano, which has a curved central body, and assumed the direction of the works for the large church of S. Filippo, already begun by Bettini and then substantially reworked by Juvara. Finally, he designed a layout for Palazzo Madama, Palazzo Graneri, Palazzo Provana di Collegno, the high altar of the church of S. Niccolò in Verona, S. Gaetano in Nice, and S. Filippo in Casale.
His art stood in opposition to the then dominant French influences; he introduced Gothic and Hispano-Moresque elements, blending them into a monumental plastic ensemble rich in harmonious rhythms.