Quatremère de Quincy
Quatremère de Quincy, stipple engraving by François Bonneville
伽特赫梅赫·德·甘西肖像，点刻雕，作者：法兰斯华·柏讷威耶
Antoine-Chrysostome Quatremère de Quincy (1755 – 1849) was a French armchair archaeologist and architectural theorist, a Freemason, and an influential writer on art.
Born in Paris, he trained for the law, then followed courses in art and history at the Collège Louis-le-Grand and apprenticed for a time in the atelier of Guillaume Coustou the Younger and Pierre Julien, getting some practical experience in the art of sculpture. A trip to Naples in the company of Jacques-Louis David sparked his interest in Greek and Roman architecture.
He was involved in the troubles of the French Revolution. In 1791-92 he orchestrated the conversion of the Church of Ste-Geneviève in Paris (under the direction of Jean-Baptiste Rondelet) into the Panthéon, infilling the windows to give it the character of a mausoleum. In 1796 he was accused of taking part in the preparations for the royalist insurrection of 13 vendémiaire and condemned to death, but acquitted in time. Next year he was elected to the Council of Five Hundred from the Seine department, went into hiding after taking part in a royalist coup; in exile in Germany, he read Immanuel Kant and Gotthold Lessing, whose philosophy informed his own theories of aesthetics. In 1800, back in Paris, he was appointed secretary general of the Seine council. From 1816 until 1839 he was perpetual secretary to the Académie des Beaux-Arts, which gave him great influence upon official architecture, and in 1818 he became a professor of archaeology at the Bibliothèque Nationale. He briefly returned to politics in 1820.
Quatremère de Quincy was the author of numerous articles and books. Between 1788 and 1825 he edited the Encylopédie Méthodique, to which he contributed much of the text. His Dictionnaire historique de l'Architecture was published in 1832-33. He wrote biographies of several artists: Antonio Canova (1823), Raphael (1824) and Michelangelo (1835).
Quatremère de Quincy transformed the simple metaphor of architecture as language into a framework for reconceptualizing the structure of architecture; modern writers describing "vernacular" architecture, or the Baroque "idiom" or the "vocabulary" of Classicism owe a debt to Quatremère de Quincy.
His essay De l'Architecture Égyptienne, written for a competition posed by the Académie d'Inscriptions et Belles-Lettres in 1785 and published in 1803, just as the Description de l'Egypte was in preparation, nevertheless was an important influence on the Egyptian Revival phase of Neoclassical architecture, for its theoretical observations concerning the origins of architecture rather than for its historical naiveté. He was among the first to point out the use of polychromy in Greek sculpture and architecture. Though he insisted that landscape gardening could not be admitted among the fine arts, he was a key figure in the establishment of the first landscaped cemeteries, and his essay, translated into English as The Nature, the End and the Means of Imitation in the Fine Arts influenced J. C. Loudon.
伽特赫梅赫·德·甘西
（另有一些翻译是迪昆赛、德·昆西、卡特马赫·德·泉夕、卡特勒梅尔·德·坎西等，均不符合法语的读音规范，故本人另译之）
安托万-克里索斯东·伽特赫梅赫·德·甘西（1755-1849）是一位法国考古学界的代表人物，同时还是一位建筑学理论家、共济会会员，以及艺术写作中一位影响深远的作家。
他出生于巴黎，在经过法学训练后，甘西开始在大路易学院修学艺术和历史，还曾经分别在居伊洛姆·菇斯杜·德·容戈赫（译者注：Guillaume Coustou the Younger，1716-1777，一位法国雕刻家）和皮埃尔·朱利安（译者注：Pierre Julien，1731-1804，法国雕刻家）的工作室中当过学徒，得到了一些雕刻艺术的练习体验。有一次，甘西与雅克-路易·大卫（Jacques-Louis David，1748-1825，一位法国画家）一同赴那不勒斯旅行，这次旅行点燃了他对希腊罗马建筑的兴趣。
他曾卷入了因法国大革命而产生的许多问题里。1791到1792年间，他精心策划了一场将巴黎的圣-日芮维埃芙教堂（Ste-Geneviève）改建成先贤祠（Panthéon）的行动，他将教堂窗户封闭了起来，使之成为了一座陵墓。在1796年，他被指控为参与了“葡月13日”保皇党复辟的筹备活动，并被判死刑，不过后来被及时宣告无罪了。次年他以塞纳区代表的身份被选入了“五百人议会”，而后来又因为参与进了保皇党团体而躲藏了起来；在流放德国的岁月里，他阅读了伊曼纽尔·康德和戈特霍尔德·莱辛的著作，这些著作的智慧改变了他对考古学的理论认识。在1800年，他回到巴黎，随即就被任命为塞纳区议会的常任秘书。1816到1839年间，他成为“美术研究院”（Académie des Beaux-Arts是法兰西科学院下5个学术组织之一）的永久秘书，这是官方上层建筑给予他的极大荣誉，1818年他还成为了法国国家图书馆（Bibliothèque Nationale）的考古学教授。1820年，他曾一度短时间地在政界露面。
伽特赫梅赫•德•甘西一生中写了大量关于艺术的书籍。1788年至1825年间，他编辑了《有条不紊的百科全书》（Encylopédie Méthodique），这是他在文本中的一大贡献。他的《建筑学历史词典》在1832年到1833年间出版。他还写了好几位艺术家的传记，包括：安东尼·卡诺瓦（1823）、拉斐尔（1824）、米开朗基罗（1835）。
伽特赫梅赫•德•甘西将建筑学语言中的简单隐喻，变化成了概念化的建筑学结构中的一种框架；现代作家将之形容成“方言”建筑学、巴洛克“成语”，或是甘西氏古典主义“词汇”。
他在1785年为“碑刻与艺术字研究院”（Académie d'Inscriptions et Belles-Lettres）所举办的一场比赛撰写了一篇名为《埃及建筑》的论文，并与1803年发表，正当《描绘埃及》准备好发表该文时，这篇文章仍然对埃及的新古典主义建筑的复兴带来了重要影响，因为它的理论研究关注的是建筑的起源，而不仅仅是建筑的历史。他是最早提出希腊雕塑和建筑运用了彩色装饰的人之一。尽管他坚持认为园艺学不属于美术的范畴，他仍然是第一座园林墓地建立的关键人物，而他的论文也被翻译成了英语，叫做《自然，美术模仿的终结者》，这篇论文还影响了约翰·克劳迪斯·劳登（J. C. Loudon）。
