IN: Zheng He (Chinese: Zheng He ; 1371-1433 or 1435) was a Chinese mariner, explorer, diplomat, fleet admiral, and court eunuch during China's early Ming dynasty. He was originally born as Ma He in a Muslim family, later adopted the conferred surname Zheng from Emperor Yongle. Zheng commanded expeditionary voyages to Southeast Asia, South Asia, Western Asia, and East Africa from 1405 to 1433. His larger ships stretched 120 meters or more in length.

Zheng He was born Ma He to a Muslim family of Kunyang, Kunming, Yunnan, China. He had an older brother and four sisters.  Ma He's religious beliefs became all-embracing and eclectic in his adulthood. According to Dreyer (2007), the Liujiagang and Changle inscriptions suggest that Zheng He's devotion to Tianfei (Princess of Heaven, the patron goddess of sailors and seafarers) was the dominant faith to which he adhered, reflecting the goddess' central role to the treasure fleet. John Guy mentions, "When Zheng He, the Muslim eunuch leader of the great expeditions to the 'Western Ocean' (Indian Ocean) in the early fifteenth century, embarked on his voyages, it was from the Divine Woman that he sought protection, as well as at the tombs of the Muslim saints on Lingshan Hill, above the city of Quanzhou."  Zheng He was a great-great-great-grandson of Sayyid Ajjal Shams al-Din Omar, who served in the administration of the Mongol Empire and was the governor of Yunnan during the early Yuan dynasty. His great-grandfather was named Bayan and may have been stationed at a Mongol garrison in Yunnan. Zheng He's grandfather carried the title hajji, while his father had the sinicized surname Ma and also the title hajji, which suggests that they had made the pilgrimage to Mecca. It also suggests that Zheng He may have had Mongol and Arab ancestry and that he could speak Arabic.  In the autumn of 1381, a Ming army invaded and conquered Yunnan, which was then ruled by the Mongol prince Basalawarmi, Prince of Liang. In 1381, Ma Haji (Zheng He's father) died in the fighting between the Ming armies and Mongol forces. Dreyer (2007) states that Zheng He's father died at age 39 while resisting the Ming conquest. Levathes (1996) states Zheng He's father died at age 37, but it is unclear if he was helping the Mongol army or just caught in the onslaught of battle. Wenming, the oldest son, buried their father outside of Kunming. In his capacity as Admiral, Zheng He had an epitaph engraved in honor of his father, composed by the Minister of Rites Li Zhigang on the Duanwu Festival of the 3rd year in the Yongle era (1 June 1405).
QUESTION: What else can you tell me about his family?
IN: 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.

Throughout his life, Holbein designed for both large-scale decorative works such as murals and smaller objects, including plate and jewellery. In many cases, his designs, or copies of them, are the sole evidence for such works. For example, his murals for the Hertenstein House in Lucerne and for the House of the Dance in Basel are known only through his designs. As his career progressed, he added Italian Renaissance motifs to his Gothic vocabulary.  Many of the intricate designs etched into suits of Greenwich armour, including King Henry's own personal tournament harnesses, were based on designs by Holbein. His style continued to influence the unique form of English armour for nearly half a century after his death.  Holbein's cartoon for part of the dynastic Tudor wall painting at Whitehall reveals how he prepared for a large mural. It was made of 25 pieces of paper, each figure cut out and pasted onto the background. Many of Holbein's designs for glass painting, metalwork, jewellery, and weapons also survive. All demonstrate the precision and fluidity of his draughtsmanship. In the view of art historian Susan Foister, "These qualities so animate his decorative designs, whether individual motifs, such as his favoured serpentine mermen and women, or the larger shapes of cups, frames, and fountains, that they scintillate on paper even before their transformation into precious metal and stone".  Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision. His final draft was a presentation version. He often used traditional patterns for ornamental details such as foliage and branches. When designing precious objects, Holbein worked closely with craftsmen such as goldsmiths. His design work, suggests art historian John North, "gave him an unparalleled feel for the textures of materials of all kinds, and it also gave him the habit of relating physical accessories to face and personality in his portraiture". Although little is known of Holbein's workshop, scholars assume that his drawings were partly intended as sources for his assistants.
QUESTION:
How did he continue to influence armour?