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to each other’s arguments in their own writings. Indeed, he is very good at situating Ouvrard’s treatise in the context of a broader debate over the relative merits of ancient wisdom andmodern innovation. Although the start of theQuerelle des Anciens et des Modernes is usually dated to 1687, Zara makes the case for an anticipatory “Querelle des Proportions en Architecture” (39) in the 1670s and 1680s, which covered some of the same issues and much of the epistemological terrain as the later, more famous debate. Ouvrard ultimately lost out to the forces of modernity, his ideas on ancient architecture disproved by the careful measurements of Roman buildings undertaken byAntoineDesgodets. Both the treatise and its author fell into obscurity: in 1692 Christiaan Huygens advised Leibniz not to read the “extravagant” treatise (54), and by the mid-eighteenth century the work was completely forgotten. Nevertheless, Ouvrard’s strange marriage of music and architecture helps to illuminate an exciting moment in French intellectual history, and scholars interested in either field should welcome Zara’s new edition.