O trabalho investiga a gênese da noção de tipo na teoria de Quatremère de Quincy e identifica qual o papel deste conceito na sistematização de uma teoria da Arquitetura. A compreensão da noção de tipo em Quatremère deve estar vinculada às questões da origem da Arquitetura, ao estabelecimento de um campo disciplinar próprio e ao delineamento de preceptivas que definam o papel das convenções e da tradição clássica frente à invenção e ao gênio. Embora a primeira formulação do termo tipo em Arquitetura seja corretamente atribuída a Quatremère de Quincy no terceiro volume da Encyclopédie Methodique - Architecture de 1825, é fundamental perfazer a genealogia das idéias e compreender este conceito no âmbito mais amplo de sua teoria da Arquitetura e das Artes. Para tanto procede-se à exegese de três textos fundamentais: De l\'état de l\'architecture Egyptienne (1803); De l\'imitation - essai sur la nature, le but et les moyens del\'imitation dans les beaux-arts (1823) e Dictionnaire Historique d\'Architecture (1832). Deste último fez-se a tradução para o português, a partir do textooriginal, de algumas vozes que versam sobre matérias teóricas e preceptivas arquitetônicas. Na passagem do século XVIII para o século XIX, frente ao historicismo e ao romantismo nascente, a posição de Quatremère é de defesa intransigente do ideal clássico na Académie des Beaux-Arts e da busca de princípios duradouros que resguardem a Arquitetura do que ele julga serem abusos. Ao definir tipo adversava aqueles que se aferravam de modo servil aos modelos e insistiam nas cópias literais. O tipo afastava a Arquitetura do abuso das convenções e do abandono das regras e dos princípios. Nessa perspectiva, o papel histórico do tipo é o aspecto mais fecundo de uma pesquisa sobre a teoria de Quatremère. / The work investigates the genesis of the notion of type in the Quatremère de Quincy\'s theory and identifies which is the role of this concept in the systematization of a theory of Architecture. The understanding of notion of type in Quatremère shall be linked to issues regarding the origin of Architecture, to the establishment of an individual disciplinary field and to the outline of principles that define the role of conventions and classical tradition before the invention and genius. Even though the first formulation of the term type in Architecture is correctly attributed to Quatremère de Quincy in the third volume of the Encyclopédie Methodique - Architecture from 1825, it is fundamental to complete the genealogy of ideas and to understand this concept on its ampler scope of his theory of Architecture and Arts. Therefore, the exegesis of three fundamental texts is conducted: De l\'état de l\'architecture Egyptienne (1803); De l\'imitation - essai sur la nature, le but et les moyens de l\'imitation dans les beaux-arts (1823) e Dictionnaire Historique d\'Architecture (1832). The latter, a translation to Portuguese was done, from the original text, from some voices that versifies about the theoretical subjects and architetonic principles. In the passage from the XVIII century to the XIX century, before the rising historicism and the romantism, the position of Quatremère is an intransigent defense of the classical ideal in the Académie des Beaux-Arts and the search for lasting principles that save Architecture from what he considers to be abuses. In defining the type he opposed himself against the ones that held, in the most servile manner, to the models and insisted in literal copies. The type kept Architecture away from the abuse of conventions and the abandonment of rules and principles. In this perspective, the historical role of type is the most fecund aspect of a research on the theory of Quatremère.

O trabalho investiga a gênese da noção de tipo na teoria de Quatremère de Quincy e identifica qual o papel deste conceito na sistematização de uma teoria da Arquitetura. A compreensão da noção de tipo em Quatremère deve estar vinculada às questões da origem da Arquitetura, ao estabelecimento de um campo disciplinar próprio e ao delineamento de preceptivas que definam o papel das convenções e da tradição clássica frente à invenção e ao gênio. Embora a primeira formulação do termo tipo em Arquitetura seja corretamente atribuída a Quatremère de Quincy no terceiro volume da Encyclopédie Methodique - Architecture de 1825, é fundamental perfazer a genealogia das idéias e compreender este conceito no âmbito mais amplo de sua teoria da Arquitetura e das Artes. Para tanto procede-se à exegese de três textos fundamentais: De l\'état de l\'architecture Egyptienne (1803); De l\'imitation - essai sur la nature, le but et les moyens del\'imitation dans les beaux-arts (1823) e Dictionnaire Historique d\'Architecture (1832). Deste último fez-se a tradução para o português, a partir do textooriginal, de algumas vozes que versam sobre matérias teóricas e preceptivas arquitetônicas. Na passagem do século XVIII para o século XIX, frente ao historicismo e ao romantismo nascente, a posição de Quatremère é de defesa intransigente do ideal clássico na Académie des Beaux-Arts e da busca de princípios duradouros que resguardem a Arquitetura do que ele julga serem abusos. Ao definir tipo adversava aqueles que se aferravam de modo servil aos modelos e insistiam nas cópias literais. O tipo afastava a Arquitetura do abuso das convenções e do abandono das regras e dos princípios. Nessa perspectiva, o papel histórico do tipo é o aspecto mais fecundo de uma pesquisa sobre a teoria de Quatremère. / The work investigates the genesis of the notion of type in the Quatremère de Quincy\'s theory and identifies which is the role of this concept in the systematization of a theory of Architecture. The understanding of notion of type in Quatremère shall be linked to issues regarding the origin of Architecture, to the establishment of an individual disciplinary field and to the outline of principles that define the role of conventions and classical tradition before the invention and genius. Even though the first formulation of the term type in Architecture is correctly attributed to Quatremère de Quincy in the third volume of the Encyclopédie Methodique - Architecture from 1825, it is fundamental to complete the genealogy of ideas and to understand this concept on its ampler scope of his theory of Architecture and Arts. Therefore, the exegesis of three fundamental texts is conducted: De l\'état de l\'architecture Egyptienne (1803); De l\'imitation - essai sur la nature, le but et les moyens de l\'imitation dans les beaux-arts (1823) e Dictionnaire Historique d\'Architecture (1832). The latter, a translation to Portuguese was done, from the original text, from some voices that versifies about the theoretical subjects and architetonic principles. In the passage from the XVIII century to the XIX century, before the rising historicism and the romantism, the position of Quatremère is an intransigent defense of the classical ideal in the Académie des Beaux-Arts and the search for lasting principles that save Architecture from what he considers to be abuses. In defining the type he opposed himself against the ones that held, in the most servile manner, to the models and insisted in literal copies. The type kept Architecture away from the abuse of conventions and the abandonment of rules and principles. In this perspective, the historical role of type is the most fecund aspect of a research on the theory of Quatremère.

L'étude examine les rapports entre théorie de l'architecture et réflexions sur l'art à la fin de l'âge classique. À travers l'analyse du discours sur l'architecture, en considérant l'architecte comme un auteur, la recherche envisage la question de l'expressivité de l'objet architectural. Elle porte sur l'esthétique des architectes, en tant que théorie de la sensation du beau. Deux mots sont ainsi étudiés dans leur discours : caractère et type. Deux concepts qui résument à eux seuls deux théories de l'art antagonistes, car ils renvoient à deux visions du monde distinctes : celui de Blondel, Boullée et Ledoux, qui se tient au plus près de la nature, et celui de Quatremère de Quincy, qui est déjà rentré dans l'Histoire. L'enquête s'arrête sur son rôle déterminant dans le paysage artistique de la France du 19ème siècle, et sur son application à y introduire une théorie de l'art idéaliste empruntée à la critique d'art allemande et écossaise. En forgeant le concept de type, Quatremère de Quincy a contribué à renverser durablement les valeurs des architectes, jusqu'au 20ème siècle, en imposant une conception universaliste et abstraite contre une appréhension empirique de la réalité, une représentation de l'imagination contre une réflexion par l'entendement discursif, une imitation idéale contre l'antique principe d'imitation de la nature. Le concept de type idéal a été forgé à l'appui des écrits des philosophes, des naturalistes et des philologues, qui eurent de tout temps une forte influence sur les théories artistiques. Aussi, l'étude se propose d'inscrire le discours de l'architecte dans un champ épistémologique plus général pour confronter sa parole à celles de ces savants et penseurs. À travers l'analyse comparée des notions d'imitation, de jugement de goût et de style, thèmes centraux des théories sur l'architecture, l'étude questionne la place de l'histoire dans le processus conceptuel, ainsi que le rôle de la mémoire et de l'habitude au moment de la réception de l'œuvre / The study examines the relationships between theory of architecture and reflections on art at the end of the classic age. Through the analysis of the discourse on architecture, by considering the architect as an author, the research treats the question of expressiveness of the architectural object. It focuses on the aesthetic of architects, as a theory of sensation of beauty. Two words are studied in their discourse: character and type. Two concepts that summarize two theories of art antagonists, because they refer to two different visions of the world: that of Blondel, Boullée and Ledoux, which is closer to nature, and that of Quatremère de Quincy, which is already go into history. The survey stops on his determining role in the artistic landscape of 19th century in France, and its application to introduce a theory of idealistic art borrowed from German and Scottish art critic. By forging the concept of type, Quatremère de Quincy contributed to revaluate durably the values of architects, until the 20th century, by imposing a universalist and abstract design against an empirical understanding of reality, a representation of the imagination against a reflection based on discursive understanding, an ideal imitation against the classic art principle of imitation of nature. The concept of ideal type was forged on contact with the writings of philosophers, naturalists and philologists, who always had a strong influence on the artistic theories. Also, the study proposes to include the discourse of the architect in a more general epistemological field to confront his voice to those of these scientists and thinkers. Through the comparative analysis of the concepts of imitation, judgment of taste and style, central themes of theories on architecture, the study questions the place of history in the design process, as well as the role of memory and habit at the time of reception of the work by the public

L'étude examine les rapports entre théorie de l'architecture et réflexions sur l'art à la fin de l'âge classique. À travers l'analyse du discours sur l'architecture, en considérant l'architecte comme un auteur, la recherche envisage la question de l'expressivité de l'objet architectural. Elle porte sur l'esthétique des architectes, en tant que théorie de la sensation du beau. Deux mots sont ainsi étudiés dans leur discours : caractère et type. Deux concepts qui résument à eux seuls deux théories de l'art antagonistes, car ils renvoient à deux visions du monde distinctes : celui de Blondel, Boullée et Ledoux, qui se tient au plus près de la nature, et celui de Quatremère de Quincy, qui est déjà rentré dans l'Histoire. L'enquête s'arrête sur son rôle déterminant dans le paysage artistique de la France du 19ème siècle, et sur son application à y introduire une théorie de l'art idéaliste empruntée à la critique d'art allemande et écossaise. En forgeant le concept de type, Quatremère de Quincy a contribué à renverser durablement les valeurs des architectes, jusqu'au 20ème siècle, en imposant une conception universaliste et abstraite contre une appréhension empirique de la réalité, une représentation de l'imagination contre une réflexion par l'entendement discursif, une imitation idéale contre l'antique principe d'imitation de la nature. Le concept de type idéal a été forgé à l'appui des écrits des philosophes, des naturalistes et des philologues, qui eurent de tout temps une forte influence sur les théories artistiques. Aussi, l'étude se propose d'inscrire le discours de l'architecte dans un champ épistémologique plus général pour confronter sa parole à celles de ces savants et penseurs. À travers l'analyse comparée des notions d'imitation, de jugement de goût et de style, thèmes centraux des théories sur l'architecture, l'étude questionne la place de l'histoire dans le processus conceptuel, ainsi que le rôle de la mémoire et de l'habitude au moment de la réception de l'œuvre