Large and immortale it is its work...", for Filippo Juvara I cannot here make other that to repeat the same used words in order to define the work of Antonello.

Filippo Juvara nacque to Messina in the 1678 from one family of silversmiths, father and siblings orafi; it manifested sin from small "a special" inclination for the design and developed with extreme facility its extraordinary ability to graphical expression beyond to not common dowries for the Fine Arts. It followed the theology studies at the same time and architecture and, after to have executed some jobs to Messina, was ordered clergyman venticinque to years. In that Messina period, after the rebellion to the Spanish crown, it poured in conditions of extreme political and economic difficulty ( the history of a heroic city ) and many its sons of talent had to take the way of the exile. Between this Filippo Juvara that moved to Rome to the school of Carl Fontana (1703), in 1705 it achieved the first prize to the competition clementino with a villa plan, it was operoso to Naples in 1706, is its the design of the Antamori Nail head in Saint Girolamo of the Charity to Rome.

In 1714 Peter Ottoboni was called to Turin from Amedeo II of Savoia on recommendation of the cardinal for which Filippo had carried out scenografo activity; endured after the great messinese architect he begins the plan for the Basilica of Superga.

The formulation of the church, absolutely brilliant, is to plant centers them on a high base that imposes the view from the bottom in on, trasfigura the reached stilistici reasons to the berniano and borrominiano baroque and confers to the architectonic complex an overhong spaces them.

The tendency to the plant centers them will be the dominant reason of the works of the piemontese period, lasted approximately a ventennio, like the Nail head of Venaria (1716) to Greek cross with cappelline angle irons. In the longitudinal plants, of navata usual to only, with lateral nails head, like in the Turinese church of Saint Filippo of Guarini architect, collapsed in the 1714 and reconstructed one in 1716, the artistic vein of the messinese architect finds accents of authentic grace. Its the the plan of the 1716 of the the facade of the the church of Saint Cristina beyond to numerous other work of renewal of building preesistenti, be from mention: the Villa of hunting of Venaria (1714-1716) with already cited Nail head and the wonderful scuderia, the castle of Rivoli (1715-1725) for which Juvara devised one spectacular scenico effect: the facade to terraces and perrons (incompiuta).

In the 1718 Juvara it began the part the west of Madama Palace to Turin, sure the most monumental and solemn facade of all 1700's European. The facade appears fastosa and austera at the same time and it is adapted perfectly to the Public square that accommodates it; the inside, in particular the entrance hall and the elegant one scalone, from lucide the structures, are conceived for the scenografico effect, always present peculiarity in all its works. In the 1720-1721 messinese architect it executed jobs to the Real Palace of Turin, between these the "scale of the scissors" with bridge dared one rampa and the space decorated of putties white men. Always to Turin, from 1716 to 1728, it planned and it constructed "the military quarters" in Valdocco course, austeri and aggraziati buildings at the same time.

Its piemontese parenthesis was get exaustedded with some travels that before carried it to Lisbona in 1719, to London in 1721 where it had contacts with Christopher Wren, therefore to Paris until to 1722 when resumptions the Turinese parenthesis with the plan of the reconstruction (not put into effect) of the Dome, to plant centers them obviously.

It constructs the Mansion of hunting of Stupinigi in 1729,

from the pavilion Andrea centers them light and luminous and from the four wings to cross of Sant' conceived to embrace the immense landscape. After to have completed the Church of the Carmine in 1735, he resumes the topic of Stupinigi. The inexhaustible fantasy of the messinese artist to traspare also from the "ideal perspectives" dedicated to the king Augusto di Polonia and from the numerous funeral monument designs. After to have planned in the 1734 Church of the Trinità (Saint Greater Maria) to Vercelli, one oed in Spain in 1735, demanded from that court for the new Real Palace. Sure the more meaningful Spanish work of the great messinese architect is the Granja near Segovia with a facade that recalls and develops the style of Madama Palace. With Filippo Juvara the piemontese settecentesca architecture assumed a role of European level.