The revival of Greek and Roman architecture, like humanism, had its origin in Italy; and in the cities of the peninsula, under patronage of wealthy princes and noble families, it attained its most general acceptance. But, like humanism, it spread to other countries, which in turn it deeply affected. The chronic wars, in which the petty Italian states were engaged throughout the sixteenth century, were attended, as we have seen, by perpetual foreign interference. But Italy, vanquished in politics, became the victor in art. While her towns surrendered to foreign armies, her architects and builders subdued Europe and brought the Christian countries for a time under her artistic sway. [Sidenote: In France] Thus in France the revival was accelerated by the military campaigns of Charles VIII, Louis XII, and Francis I, which led to the revelation of the architectural triumphs in Italy, the result being the importation of great numbers of Italian designers and craftsmen. Architecture after the Greek or Roman manner at once became fashionable. Long, horizontal lines appeared in many public buildings, of which the celebrated palace of the Louvre, begun in the last year of the reign of Francis I (1546), and to-day the home of one of the world's greatest art collections, is a conspicuous example. [Sidenote: In Other Countries] In the second half of the sixteenth century, the new architecture similarly entered Spain and received encouragement from Philip II. About the same time it manifested itself in the Netherlands and in the Germanies. In England, its appearance hardly took place in the sixteenth century. it was not until 1619 that a famous architect, Inigo Jones (1573-1651), designed and reared the classical banqueting house in Whitehall, and not until the second half of the seventeenth century did Sir Christopher Wren (1632-1723), by means of the majestic St. Paul's cathedral in London, render the new architecture popular in England. [Sidenote: Sculpture] Sculpture is usually an attendant of architecture, and it is not surprising, therefore, that transformation of the one should be connected with change in the other. The new movement snowed itself in Italian sculpture as early as the fourteenth century, owing to the influence of the ancient monuments which still abounded throughout the peninsula and to which the humanists attracted attention. In the fifteenth century archaeological discoveries were made and a special interest fostered by the Florentine family of the Medici, who not only became enthusiastic collectors of ancient works of art but promoted the study of the antique figure. Sculpture followed more and more the Greek and Roman traditions in form and often in subject as well. The plastic art of Italy in the fifteenth and sixteenth centuries was strikingly akin to that of Athens in the fifth or fourth centuries before Christ.