Question: Hans Holbein the Younger (German: Hans Holbein der Jungere) (c. 1497 - between 7 October and 29 November 1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design.

On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532.

Using a quote from the above article, answer the following question: What did he use the house for?
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Answer: He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence.


Question: Anka was born in Ottawa, Ontario, to Camelia (nee Tannis) and Andrew Emile "Andy" Anka Sr., who owned a restaurant called the Locanda. His parents were both Antiochian Orthodox Christians. Anka's father (Andy) was Syrian-American from 'Uyun al-Wadi, Syria from the Na'Nou' family and his mother (Camelia) was Canadian-Lebanese "from the town of Kfarmishki, Rashaya District, in Lebanon." Anka sang with the St. Elias Antiochian Orthodox Church choir under the direction of Frederick Karam, with whom he studied music theory.

Already locally famous as a teenage idol for his songs in English, Anka hit the Italian market with "Summer's Gone" in 1960; it was released as "Dove Sei". The record got immediate success, reaching No. 4 on Italian hit lists, opening a promising foreign career. Anka then underwent an intense collaboration with Italian musicians of the time, including composer/director Ennio Morricone, singer-songwriter Lucio Battisti, and lyricist Mogol. His official discography reports nine singles released by RCA Italiana, but the Italian charts list at least six other songs he interpreted or recorded in Italian. His top hit was "Ogni giorno" which scored No. 1 in 1962, followed by "Piangero per te" and "Ogni volta", which reached both No. 2, in 1963 and 1964. "Ogni volta" ("Every Time") was sung by Anka during the Festival di Sanremo of 1964 and then sold more than one million copies in Italy alone; it was also awarded a gold disc.  He returned to San Remo in 1968 with "La farfalla impazzita" by Battisti-Mogol. On that occasion the same title was interpreted by Italian crooner Johnny Dorelli. The pair of singers, however, were eliminated before the final stage of the competition. Anka, maybe only coincidentally, left the Italian scene shortly thereafter. In 2003 Anka came back with an exclusive concert in Bologna, organized by the Italian company Mapei during the CERSAIE exhibition. He recorded a version of "My Way" with alternate lyrics dedicated to the sponsor of the evening.  In 2006, he recorded a duet with 1960s Italian hitmaker Adriano Celentano, a new cover of "Diana", with Italian lyrics by Celentano-Mogol and with singer-songwriter Alex Britti on the guitar. The song hit No. 3.

Using a quote from the above article, answer the following question: who did she work with in italy
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Answer:
Ennio Morricone,