input: News of Irwin's death prompted reactions around the world. Then-Prime Minister John Howard expressed "shock and distress" at the death, saying that "Australia has lost a wonderful and colourful son." Queensland's then-Premier Peter Beattie remarked that Irwin would "be remembered as not just a great Queenslander, but a great Australian". The Australian federal parliament opened on 5 September 2006 with condolence speeches by both Howard and the Leader of the Opposition, Kim Beazley. Flags at the Sydney Harbour Bridge were lowered to half mast in honour of Irwin. In the days following Irwin's death, reactions dominated Australian online news sources, talk-back radio programmes, and television networks. In the United States, where Irwin had appeared in over 200 Discovery Network television programmes, special tributes appeared on the Animal Planet channel, as well as on CNN and major TV talk shows. Thousands of Irwin's fans visited Australia Zoo after his death, paying their respects and bringing flowers, candles, stuffed animals and messages of support.  Criticism of Irwin's career following his death came from Dan Mathews, vice-president of the animal rights group People for the Ethical Treatment of Animals. Comparing Irwin to a "cheap reality TV star", Mathews accused him of "antagonising frightened wild animals ... a very dangerous message to send to children", contrasted his methods with the behaviour of "a responsible conservationist like Jacques Cousteau", and said it was "no shock at all that Steve Irwin should die provoking a dangerous animal." The son of Jacques Cousteau, Jean-Michel Cousteau--also a producer of wildlife documentaries--took issue with Irwin's "very, very spectacular, dramatic way of presenting things" and suggested instead that "You don't touch nature, you just look at it." Jacques Cousteau's grandson and Jean-Michel's nephew, Philippe Cousteau Jr., on the other hand, called Irwin "a remarkable individual"; describing the Ocean's Deadliest project (on which he worked along with Irwin), Philippe said, "I think why Steve was so excited about it that we were looking at these animals that people think of as, you know, dangerous and deadly monsters, and they're not. They all have an important place in the environment and in the world. And that was what his whole message was about."  In the weeks following Irwin's death, at least ten stingrays were found dead and mutilated on the beaches of Queensland, with their tails cut off, prompting speculation as to whether they might have been killed by fans of Irwin as an act of revenge, although, according to the chairman of the Queensland fishing information service, anglers regularly cut the tails off of accidentally caught stingrays to avoid being stung. Michael Hornby, a friend of Irwin and executive director of his Wildlife Warrior fund, condemned any revenge killings, saying that "We just want to make it very clear that we will not accept and not stand for anyone who's taken a form of retribution. That's the last thing Steve would want."

Answer this question "What reactions does the article mean?"
output: News of Irwin's death prompted reactions around the world.

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.

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.

Using a quote from the above article, answer the following question: How did he continue to influence armour?
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Answer:
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.