Guarino Guarini in the context of "Shroud of Turin"

⭐ Core Definition: Guarino Guarini

Camillo Guarino Guarini (17 January 1624 – 6 March 1683) was an Italian architect of the Piedmontese Baroque, active in Turin as well as Sicily, France and Portugal. He was a Theatine priest, mathematician, and writer. His work represents the ultimate achievement of Italian Baroque structural engineering, creating in stone what could be attempted today in reinforced concrete. Together with Francesco Borromini, Guarini is the most renowned exponent of the anti-classical, anti-Vitruvian trend that dominated Italian architecture after Michelangelo but increasingly lost ground from the late 17th century. His subtly designed buildings, crowned with daring and complex domes, were ignored in Italy outside Piedmont, but illustrations published in 1686 and again in Guarini’s treatise Architettura civile (1737) proved a fruitful source of inspiration in the development of south German and Austrian late Baroque and Rococo architecture.

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👉 Guarino Guarini in the context of Shroud of Turin

The Shroud of Turin (Italian: Sindone di Torino), also known as the Holy Shroud (Italian: Sacra Sindone), is a length of linen cloth that bears a faint image of the front and back of a naked man. Because details of the image are consistent with traditional depictions of Jesus of Nazareth after his death by crucifixion, the shroud has been venerated for centuries, especially by members of the Catholic Church, as Jesus's shroud upon which his image was miraculously imprinted. The human image on the shroud can be discerned more clearly in a black-and-white photographic negative than in its natural sepia colour, an effect discovered in 1898 by Secondo Pia, who produced the first photographs of the shroud. This negative image is associated with a popular Catholic devotion to the Holy Face of Jesus.

The documented history of the shroud dates back to 1354, when it began to be exhibited in the new collegiate church of Lirey, a village in north-central France. The shroud was denounced as a forgery by the bishop of Troyes, Pierre d'Arcis, in 1389. It was acquired by the House of Savoy in 1453 and later deposited in a chapel in Chambéry, where it was damaged by fire in 1532. In 1578, the Savoys moved the shroud to their new capital in Turin, where it has remained ever since. Since 1683, it has been kept in the Chapel of the Holy Shroud, which was designed for that purpose by the architect Guarino Guarini and which is connected to both the royal palace and the Turin Cathedral. Ownership of the shroud passed from the House of Savoy to the Catholic Church after the death of the former king Umberto II of Italy in 1983.

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In this Dossier

⭐ Core Definition: Guarino Guarini
👉 Guarino Guarini in the context of Shroud of Turin
Guarino Guarini in the context of Czech Baroque architecture
Guarino Guarini in the context of Descriptive geometry

Guarino Guarini in the context of Czech Baroque architecture

Czech Baroque architecture refers to the architectural period of the 17th and 18th century in Bohemia, Moravia and Silesia, which comprised the Crown of Bohemia and today constitute the Czech Republic.

The Baroque style also changed the character of the Czech countryside (churches and chapels in Czech countryside are mostly Baroque). Czech Baroque architecture is considered to be a unique part of the European cultural heritage thanks to its extensiveness and extraordinariness. In the first third of the 18th century the Czech lands (especially Bohemia) were one of the leading artistic centers of the Baroque style. In Bohemia there was completed in a very original way the development of the Radical Baroque style created in Italy by Francesco Borromini and Guarino Guarini. The leading architects of the Czech High Baroque style (also called Radical Baroque of Bohemia) were Christoph Dientzenhofer, Kilian Ignaz Dientzenhofer and Jan Blažej Santini-Aichel.

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Guarino Guarini in the context of Descriptive geometry

Descriptive geometry is the branch of geometry which allows the representation of three-dimensional objects in two dimensions by using a specific set of procedures. The resulting techniques are important for engineering, architecture, design and in art. The theoretical basis for descriptive geometry is provided by planar geometric projections.

The earliest known publication on the technique was "Underweysung der Messung mit dem Zirckel und Richtscheyt" (Observation of the measurement with the compass and spirit level), published in Linien, Nuremberg: 1525, by Albrecht Dürer. Italian architect Guarino Guarini was also a pioneer of projective and descriptive geometry, as is clear from his Placita Philosophica (1665), Euclides Adauctus (1671) and Architettura Civile (1686—not published until 1737). Gaspard Monge (1746–1818) is usually credited with the invention of descriptive geometry, called the "father of descriptive geometry" due to his developments in geometric problem solving. His first discoveries were in 1765 while he was working as a draftsman for military fortifications, although his findings were published later on.