Abstract
French theorists grew infatuated with Augustine's De musica at the beginning of the 17th c. Their enthusiasm reached its highest pitch in the last third of the century, when groups as different as the Oratorians and Jansenists were infected and the Maurists brought out a new edition (1679). Mersenne revised the classification of music in adhering to an ontology dependent on Augustine and thus firmly rooted in Christian tradition. Rene Ouvrard adopted Augustine's ideas in his discussion of the harmonic proportions of architecture (L'architecture harmonique, (1674) and provoked the reaction of Claude Perrault. Rereading Augustine, French theorists elaborated the first philosophically oriented music aesthetics.
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