title: Hans Holbein the Younger

text: Holbein was born in Augsburg but worked mainly in Basel as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer Johann Froben. He also painted an occasional portrait, making his international mark with portraits of humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance humanism. The result was a combined aesthetic uniquely his own.


title: Hans Holbein the Younger

text: Holbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 under the patronage of Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to Henry VIII of England. In this role, he produced portraits and festive decorations, as well as designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the Church of England.


title: Hans Holbein the Younger

text: Holbein's art was prized from early in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him "the Apelles of our time," a typical accolade at the time. Holbein has also been described as a great "one-off" in art history since he founded no school. Some of his work was lost after his death, but much was collected and he was recognized among the great portrait masters by the 19th century. Recent exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes.


title: Hans Holbein the Younger

text: Holbein's art has sometimes been called realist, since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness, and it is through his eyes that many famous figures of his day are pictured today, such as Erasmus and More. He was never content with outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting fascination of scholars. In the view of art historian Ellis Waterhouse, his portraiture "remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style".


title: Hans Holbein the Younger

text: Holbein was born in the free imperial city of Augsburg during the winter of 1497–98. He was a son of the painter and draughtsman Hans Holbein the Elder, whose trade he and his older brother, Ambrosius, followed. Holbein the Elder ran a large and busy workshop in Augsburg, sometimes assisted by his brother Sigmund, also a painter.


title: Hans Holbein the Younger

text: By 1515, Hans and Ambrosius had moved as journeymen painters to the city of Basel, a centre of learning and the printing trade. There they were apprenticed to Hans Herbster, Basel's leading painter. The brothers found work in Basel as designers of woodcuts and metalcuts for printers. In 1515, the preacher and theologian Oswald Myconius invited them to add pen drawings to the margin of a copy of "The Praise of Folly" by the humanist scholar Desiderius Erasmus of Rotterdam. The sketches provide early evidence of Holbein's wit and humanistic leaning. His other early works, including the double portrait of Basel's mayor Jakob Meyer zum Hasen and his wife , follow his father's style. With Meyer zum Hasen, Holbein maintained a close working relationship until the latter was sacked in 1521.


title: Hans Holbein the Younger

text: The young Holbein, alongside his brother and his father, is pictured in the left-hand panel of Holbein the Elder's 1504 altar piece triptych the "Basilica of St. Paul", which is displayed at the Staatsgalerie in Augsburg.


title: Hans Holbein the Younger

text: In 1517, father and son began a project in Lucerne (Luzern), painting internal and external murals for the merchant Jakob von Hertenstein. While in Lucerne, Holbein also designed cartoons for stained glass. The city's records show that on 10 December 1517, he was fined five livres for fighting in the street with a goldsmith called Caspar, who was fined the same amount. That winter, Holbein probably visited northern Italy, though no record of the trip survives. Many scholars believe he studied the work of Italian masters of fresco, such as Andrea Mantegna, before returning to Lucerne. He filled two series of panels at Hertenstein's house with copies of works by Andrea Mantegna, including "The Triumphs of Caesar".


title: Hans Holbein the Younger

text: In 1519, Holbein moved back to Basel. His brother fades from the record at about this time, and it is usually presumed that he died. Holbein re-established himself rapidly in the city, running a busy workshop. He joined the painters' guild and took out Basel citizenship. He married Elsbeth Binsenstock-Schmid 1519, a widow a few years older than he was, who had an infant son, Franz, and was running her late husband's tanning business. She bore Holbein a son of his own, Philipp, in their first year of marriage a girl called Katharina in 1526 and two more children, Jacob and Küngold in later years.


title: Hans Holbein the Younger

text: Holbein was prolific during this period in Basel, which coincided with the arrival of Lutheranism in the city. He undertook a number of major projects, such as external murals for "The House of the Dance" and internal murals for the Council Chamber of the Town Hall. The former are known from preparatory drawings. The Council Chamber murals survive in a few poorly preserved fragments. Holbein also produced a series of religious paintings and designed cartoons for stained glass windows.


title: Hans Holbein the Younger

text: In a period of a revolution in book design, he illustrated for the publisher Johann Froben. His woodcut designs included those for the "Dance of Death", cut by the formschneider Hans Lützelburger the "Icones" (illustrations of the Old Testament), and the title page of Martin Luther's bible. Additionally he designed twelve alphabets, of those a Greek and Latin for Froben. The letters were ornamented with depictions of Greek and Roman gods, heads of Caesars, poets and philosophers. Through the woodcut medium, Holbein refined his grasp of expressive and spatial effects.


title: Hans Holbein the Younger

text: Holbein also painted the occasional portrait in Basel, among them the double portrait of Jakob and Dorothea Meyer, and, in 1519, that of the young academic Bonifacius Amerbach. According to art historian Paul Ganz, the portrait of Amerbach marks an advance in his style, notably in the use of unbroken colours. For Meyer, he painted an altarpiece of the Madonna which included portraits of the donor, his wife, and his daughter. In 1523, Holbein painted his first portraits of the great Renaissance scholar Erasmus, who required likenesses to send to his friends and admirers throughout Europe. These paintings made Holbein an international artist. Holbein visited France in 1524, probably to seek work at the court of Francis I. When Holbein decided to seek employment in England in 1526, Erasmus recommended him to his friend the statesman and scholar Thomas More. "The arts are freezing in this part of the world," he wrote, "and he is on the way to England to pick up some angels".


title: Hans Holbein the Younger

text: Holbein broke his journey towards Antwerp, where he delivered a recommendation from Erasmus to Pieter Gillis. In Antwerp, he also bought some oak panels and may have met the painter Quentin Matsys. Gillis then seemed to have sent Holbein to the Court of England, where Sir Thomas More welcomed him to and found him a series of commissions. "Your painter, my dearest Erasmus," he wrote, "is a wonderful artist". Holbein painted the famous "Portrait of Sir Thomas More" and another of More with his family. The group portrait, original in conception, is known only from a preparatory sketch and copies by other hands. According to art historian Andreas Beyer, it "offered a prelude of a genre that would only truly gain acceptance in Dutch painting of the seventeenth century". Seven fine-related studies of More family members also survive.


title: Hans Holbein the Younger

text: During this first stay in England, Holbein worked largely for a humanist circle with ties to Erasmus. Among his commissions was the portrait of William Warham, Archbishop of Canterbury, who owned a Holbein portrait of Erasmus. Holbein also painted the Bavarian astronomer and mathematician Nicholas Kratzer, a tutor of the More family whose notes appear on Holbein's sketch for their group portrait. Although Holbein did not work for the king during this visit, he painted the portraits of courtiers such as Sir Henry Guildford and his wife Lady Mary, and of Anne Lovell, identified in 2003 or 2004 as the subject of "Lady with a Squirrel and a Starling". In May 1527, "Master Hans" also painted a panorama of the siege of Thérouanne for the visit of French ambassadors. With Kratzer, he devised a ceiling covered in planetary signs, under which the visitors dined. The chronicler Edward Hall described the spectacle as showing "the whole Earth, environed with the sea, like a very map or cart".


title: Hans Holbein the Younger

text: In August 1528, Holbein bought a house in Basel in St.Johanns-Vorstadt and became the neighbor of Hieronymus Froben. For this house he paid a third in advance. 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 neighboring house in 1531 for which he initially advanced only a seventh of the price and was to pay a yearly rate during the following six years.


title: Hans Holbein the Younger

text: 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".


title: Hans Holbein the Younger

text: 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, though the paintings on the organ doors of the Basel Minster were saved. 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".


title: Hans Holbein the Younger

text: 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.


title: Hans Holbein the Younger

text: Holbein returned to England, where the political and religious environment was changing radically. In 1532, Henry VIII was preparing to repudiate Catherine of Aragon and marry Anne Boleyn, in defiance of the pope. Among those who opposed Henry's actions was Holbein's former host and patron Sir Thomas More, who resigned as Lord Chancellor in May 1532. Holbein seems to have distanced himself from More's humanist milieu on this visit, and "he deceived those to whom he was recommended", according to Erasmus. The artist found favour instead within the radical new power circles of the Boleyn family and Thomas Cromwell. Cromwell became the king's secretary in 1534, controlling all aspects of government, including artistic propaganda. More was executed in 1535 along with John Fisher, whose portrait Holbein had also drawn.


title: Hans Holbein the Younger

text: Holbein's commissions in the early stages of his second English period included portraits of Lutheran merchants of the Hanseatic League. The merchants lived and plied their trade at the Steelyard, a complex of warehouses, offices, and dwellings on the north bank of the Thames. Holbein rented a house in Maiden Lane nearby, and he portrayed his clients in a range of styles. His portrait of Georg Giese of Gdańsk shows the merchant surrounded by exquisitely painted symbols of his trade. His portrait of Derich Berck of Cologne, on the other hand, is classically simple and possibly influenced by Titian. For the guildhall of the Steelyard, Holbein painted the monumental allegories "The Triumph of Wealth" and "The Triumph of Poverty", both now lost. The merchants also commissioned a street tableau of Mount Parnassus for Anne Boleyn's coronation eve procession of 31 May 1533.


title: Hans Holbein the Younger

text: Holbein also portrayed various courtiers, landowners, and visitors during this time, and his most famous painting of the period was "The Ambassadors". This life-sized panel portrays Jean de Dinteville, an ambassador of Francis I of France in 1533, and Georges de Selve, Bishop of Lavaur who visited London the same year. The work incorporates symbols and paradoxes, including an anamorphic (distorted) skull. According to scholars, these are enigmatic references to learning, religion, mortality, and illusion in the tradition of the Northern Renaissance. Art historians Oskar Bätschmann and Pascal Griener suggest that in "The Ambassadors", "Sciences and arts, objects of luxury and glory, are measured against the grandeur of Death".


title: Hans Holbein the Younger

text: No certain portraits survive of Anne Boleyn by Holbein, perhaps because her memory was purged following her execution for treason, incest, and adultery in 1536. It is clear, however, that Holbein worked directly for Anne and her circle. He designed a cup engraved with her device of a falcon standing on roses, as well as jewellery and books connected to her. He also sketched several women attached to her entourage, including her sister-in-law Jane Parker. At the same time, Holbein worked for Thomas Cromwell as he masterminded Henry VIII's reformation. Cromwell commissioned Holbein to produce reformist and royalist images, including anti-clerical woodcuts and the title page to Myles Coverdale's English translation of the Bible. Henry VIII had embarked on a grandiose programme of artistic patronage. His efforts to glorify his new status as Supreme Head of the Church culminated in the building of Nonsuch Palace, which started in 1538.


title: Hans Holbein the Younger

text: By 1536, Holbein was employed as the King's Painter on an annual salary of 30 pounds—though he was never the highest-paid artist on the royal payroll. Royal "pictor maker" Lucas Horenbout earned more, and other continental artists also worked for the king. In 1537, Holbein painted his most famous image: Henry VIII standing in a heroic pose with his feet planted apart. The left section has survived of Holbein's cartoon for a life-sized wall painting at Whitehall Palace showing the king in this pose with his father behind him. The mural also depicted Jane Seymour and Elizabeth of York, but it was destroyed by fire in 1698. It is known from engravings and from a 1667 copy by Remigius van Leemput. An earlier half-length portrait shows Henry in a similar pose, but all the full-length portraits of him are copies based on the Whitehall pattern. The figure of Jane Seymour in the mural is related to Holbein's sketch and painting of her.


title: Hans Holbein the Younger

text: Jane died in October 1537, shortly after bearing Henry's only son Edward VI, and Holbein painted a portrait of the infant prince about two years later, clutching a sceptre-like gold rattle. Holbein's final portrait of Henry dates from 1543 and was perhaps completed by others, depicting the king with a group of barber surgeons.


title: Hans Holbein the Younger

text: Holbein's portrait style altered after he entered Henry's service. He focused more intensely on the sitter's face and clothing, largely omitting props and three-dimensional settings. He applied this clean, craftsman-like technique to miniature portraits such as that of Jane Small, and to grand portraits such as that of Christina of Denmark. He travelled with Philip Hoby to Brussels in 1538 and sketched Christina for the king, who was appraising the young widow as a prospective bride. John Hutton, the English ambassador in Brussels, reported that another artist's drawing of Christina was "sloberid" (slobbered) compared to Holbein's.


title: Hans Holbein the Younger

text: In Wilson's view, Holbein's subsequent oil portrait is "the loveliest painting of a woman that he ever executed, which is to say that it is one of the finest female portraits ever painted". The same year, Holbein and Hoby went to France to paint Louise of Guise and Anna of Lorraine for Henry VIII. Neither portrait of these cousins has survived. Holbein found time to visit Basel, where he was fêted by the authorities and granted a pension. On the way back to England, he apprenticed his son Philipp to Basel-born goldsmith Jacob David in Paris.


title: Hans Holbein the Younger

text: Holbein painted Anne of Cleves at Burgau Castle, posing her square-on and in elaborate finery. This was the woman whom Henry married at Düren at the encouragement of Thomas Cromwell in the summer of 1539. English envoy Nicholas Wotton reported that "Hans Holbein hath taken the effigies of my Lady Anne and the lady Amelia [Anne's sister] and hath expressed their images very lively". Henry was disillusioned with Anne in the flesh, however, and he divorced her after a brief, unconsummated marriage. There is a tradition that Holbein's portrait flattered Anne, derived from the testimony of Sir Anthony Browne.


title: Hans Holbein the Younger

text: Henry said that he was dismayed by her appearance at Rochester, having seen her pictures and heard advertisements of her beauty—so much that his face fell. No one other than Henry ever described Anne as repugnant; French Ambassador Charles de Marillac thought her quite attractive, pleasant, and dignified, though dressed in unflattering, heavy German clothing, as were her attendants. Some of the blame for the king's disillusionment fell on Thomas Cromwell, who had been instrumental in arranging the marriage and had passed on some exaggerated claims of Anne's beauty. This was one of the factors that led to Cromwell's downfall.


title: Hans Holbein the Younger

text: Holbein had deftly survived the downfall of his first two great patrons, Thomas More and Anne Boleyn, but Cromwell's sudden arrest and execution on trumped-up charges of heresy and treason in 1540 undoubtedly damaged his career. Though Holbein retained his position as King's Painter, Cromwell's death left a gap no other patron could fill. It was, ironically, Holbein's portrait of Anne of Cleves which largely led to Cromwell's downfall: furious at being saddled with a wife he found entirely unattractive, the King directed all his anger at Cromwell. Granted, Cromwell had exaggerated her beauty, but there is no evidence that Henry blamed Holbein for supposedly flattering Anne's looks.


title: Hans Holbein the Younger

text: Apart from routine official duties, Holbein now occupied himself with private commissions, turning again to portraits of Steelyard merchants. He also painted some of his finest miniatures, including those of Henry Brandon and Charles Brandon, sons of Henry VIII's friend Charles Brandon, 1st Duke of Suffolk and his fourth wife, Catherine Willoughby. Holbein managed to secure commissions among those courtiers who now jockeyed for power, in particular from Anthony Denny, one of the two chief gentlemen of the bedchamber. He became close enough to Denny to borrow money from him. He painted Denny's portrait in 1541 and two years later designed a clock-salt for him. Denny was part of a circle that gained influence in 1542 after the failure of Henry's marriage to Catherine Howard. The king's marriage in July 1543 to the reformist Catherine Parr, whose brother Holbein had painted in 1541, established Denny's party in power.


title: Hans Holbein the Younger

text: Holbein may have visited his wife and children in late 1540, when his leave of absence from Basel expired. None of his work dates from this period, and the Basel authorities paid him six months' salary in advance. The state of Holbein's marriage has intrigued scholars, who base their speculations on fragmentary evidence. Apart from one brief visit, Holbein had lived apart from Elsbeth since 1532. His will reveals that he had two infant children in England, of whom nothing is known except that they were in the care of a nurse.


title: Hans Holbein the Younger

text: Holbein's unfaithfulness to Elsbeth may not have been new. Some scholars believe that Magdalena Offenburg, the model for the "Darmstadt Madonna" and for two portraits painted in Basel, was for a time Holbein's mistress. Others dismiss the idea. One of the portraits was of Lais of Corinth, mistress of Apelles, the famous artist of Greek antiquity after whom Holbein was named in humanist circles. Whatever the case, it is likely that Holbein always supported his wife and children. When Elsbeth died in 1549, she was well off and still owned many of Holbein's fine clothes; on the other hand, she had sold his portrait of her before his death.


title: Hans Holbein the Younger

text: Hans Holbein died between 7 October and 29 November 1543 at the age of 45. Karel van Mander stated in the early 17th century that he died of the plague. Wilson regards the story with caution since Holbein's friends attended his bedside; and Peter Claussen suggests that he died of an infection. Describing himself as "servant to the king's majesty", Holbein made his will on 7 October at his home in Aldgate. The goldsmith John of Antwerp and a few German neighbours signed as witnesses.


title: Hans Holbein the Younger

text: Holbein may have been in a hurry, because the will was not witnessed by a lawyer. On 29 November, John of Antwerp, the subject of several of Holbein's portraits, legally undertook the administration of the artist's last wishes. He presumably settled Holbein's debts, arranged for the care of his two children, and sold and dispersed his effects, including many designs and preliminary drawings that have survived. The site of Holbein's grave is unknown and may never have been marked. The churches of St Katherine Cree or St Andrew Undershaft in London are possible locations, being located near his house.


title: Hans Holbein the Younger

text: The first influence on Holbein was his father, Hans Holbein the Elder, an accomplished religious artist and portraitist who passed on his techniques as a religious artist and his gifts as a portraitist to his son. The young Holbein learned his craft in his father's workshop in Augsburg, a city with a thriving book trade, where woodcut and engraving flourished. Augsburg also acted as one of the chief "ports of entry" into Germany for the ideas of the Italian Renaissance. By the time Holbein began his apprenticeship under Hans Herbster in Basel, he was already steeped in the late Gothic style, with its unsparing realism and emphasis on line, which influenced him throughout his life. In Basel, he was favoured by humanist patrons, whose ideas helped form his vision as a mature artist.


title: Hans Holbein the Younger

text: During his Swiss years, when he may have visited Italy, Holbein added an Italian element to his stylistic vocabulary. Scholars note the influence of Leonardo da Vinci's "sfumato" (smoky) technique on his work, for example in his "Lais of Corinth". From the Italians, Holbein learned the art of single-point perspective and the use of antique motifs and architectural forms. In this, he may have been influenced by Andrea Mantegna. The decorative detail recedes in his late portraits, though the calculated precision remains. Despite assimilating Italian techniques and Reformation theology, Holbein's art in many ways extended the Gothic tradition.


title: Hans Holbein the Younger

text: His portrait style, for example, remained distinct from the more sensuous technique of Titian, and from the Mannerism of William Scrots, Holbein's successor as King's Painter. Holbein's portraiture, particularly his drawings, had more in common with that of Jean Clouet, which he may have seen during his visit to France in 1524. He adopted Clouet's method of drawing with coloured chalks on a plain ground, as well as his care over preliminary portraits for their own sake. During his second stay in England, Holbein learned the technique of limning, as practised by Lucas Horenbout. In his last years, he raised the art of the portrait miniature to its first peak of brilliance.


title: Hans Holbein the Younger

text: Holbein followed in the footsteps of Augsburg artists like his father and Hans Burgkmair, who largely made their living from religious commissions. Despite calls for reform, the church in the late 15th century was medieval in tradition. It maintained an allegiance to Rome and a faith in pieties such as pilgrimages, veneration of relics, and prayer for dead souls. Holbein's early work reflects this culture. The growing reform movement, led by humanists such as Erasmus and Thomas More, began, however, to change religious attitudes. Basel, where Martin Luther's major works were first published, became the main centre for the transmission of Reformation ideas.


title: Hans Holbein the Younger

text: The gradual shift from traditional to reformed religion can be charted in Holbein's work. His "Body of the Dead Christ in the Tomb" of 1522 expresses a humanist view of Christ in tune with the reformist climate in Basel at the time. The "Dance of Death" (1523–26) refashions the late-medieval allegory of the "Danse Macabre" as a reformist satire. Holbein's series of woodcuts shows the figure of "Death" in many disguises, confronting individuals from all walks of life. None escape Death's skeleton clutches, even the pious.


title: Hans Holbein the Younger

text: In addition to the "Dance of Death" Holbein completed "Icones" or "Series of the Old Gospel" (It contains two works: "The images of the stories of the Old Gospel" and "Portraits or printing boards of the story of the Old Gospel"). These works were arranged by Holbein with Melchior & Gaspar Trechsel in about 1526, later printed and edited in Latin by Jean & Francois Frellon with 92 woodcuts. These two works also share the first four figures with the "Dance of Death".


title: Hans Holbein the Younger

text: It appears that the Trechsel brothers initially intended to hire Holbein for illustrating Bibles. In fact, some of Holbein's "Icones" woodcuts appear in the recently discovered "Biblia cum Glossis" by Michel De Villeneuve (Michael Servetus). Holbein woodcuts appear in several other works by Servetus: his Spanish translation of "The images of the stories of the Old Gospel", printed by Juan Stelsio in Antwerp in 1540 (92 woodcuts), and also of his Spanish versification of the associated work "Portraits or printing boards of the story of the Old Gospel", printed by Francois and Jean Frellon in 1542 (same 92 woodcuts plus 2 more), as it was demonstrated in the International Society for the History of Medicine, by the expert researcher in Servetus, González Echeverría, who also proved the existence of the other work of Holbein & De Villeneuve, "Biblia cum Glossis" or " Lost Bible".


title: Hans Holbein the Younger

text: Holbein painted many large religious works between 1520 and 1526, including the "Oberried Altarpiece", the "Solothurn Madonna", and the "Passion". Only when Basel's reformers turned to iconoclasm in the later 1520s did his freedom and income as a religious artist suffer.


title: Hans Holbein the Younger

text: Holbein continued to produce religious art, but on a much smaller scale. He designed satirical religious woodcuts in England. His small painting for private devotion, "Noli Me Tangere", has been taken as an expression of his personal religion. Depicting the moment when the risen Christ tells Mary Magdalene not to touch him, Holbein adheres to the details of the bible story. The 17th-century diarist John Evelyn wrote that he "never saw so much reverence and kind of heavenly astonishment expressed in a picture".


title: Hans Holbein the Younger

text: Holbein has been described as "the supreme representative of German Reformation art". The Reformation was a varied movement, however, and his position was often ambiguous. Despite his ties with Erasmus and More, he signed up to the revolution begun by Martin Luther, which called for a return to the Bible and the overthrow of the papacy. In his woodcuts "Christ as the Light of the World" and "The Selling of Indulgences", Holbein illustrated attacks by Luther against Rome. At the same time, he continued to work for Erasmians and known traditionalists. After his return from England to a reformed Basel in 1528, he resumed work both on Jakob Meyer's Madonna and on the murals for the Council Chamber of the Town Hall. The Madonna was an icon of traditional piety, while the Old Testament murals illustrated a reformist agenda.


title: Hans Holbein the Younger

text: Holbein returned to England in 1532 as Thomas Cromwell was about to transform religious institutions there. He was soon at work for Cromwell's propaganda machine, creating images in support of the royal supremacy. During the period of the Dissolution of the Monasteries, he produced a series of small woodcuts in which biblical villains were dressed as monks. His reformist painting "The Old and the New Law" identified the Old Testament with the "Old Religion". Scholars have detected subtler religious references in his portraits. In "The Ambassadors", for example, details such as the Lutheran hymn book and the crucifix behind the curtain allude to the context of the French mission. Holbein painted few religious images in the later part of his career. He focused on secular designs for decorative objects, and on portraits stripped of inessentials.


title: Hans Holbein the Younger

text: For Holbein, "everything began with a drawing". A gifted draughtsman, he was heir to a German tradition of line drawing and precise preparatory design. Holbein's chalk and ink portraits demonstrate his mastery of outline. He always made preparatory portraits of his sitters, though many drawings survive for which no painted version is known, suggesting that some were drawn for their own sake. Holbein produced relatively few portraits during his years in Basel. Among these were his 1516 studies of Jakob and Dorothea Meyer, sketched, like many of his father's portrait drawings, in silverpoint and chalk.


title: Hans Holbein the Younger

text: Holbein painted most of his portraits during his two periods in England. In the first, between 1526 and 1528, he used the technique of Jean Clouet for his preliminary studies, combining black and coloured chalks on unprimed paper. In the second, from 1532 to his death, he drew on smaller sheets of pink-primed paper, adding pen and brushwork in ink to the chalk. Judging by the three-hour sitting given to him by Christina of Denmark, Holbein could produce such portrait studies quickly. Some scholars believe that he used a mechanical device to help him trace the contours of his subjects' faces. Holbein paid less attention to facial tones in his later drawings, making fewer and more emphatic strokes, but they are never formulaic. His grasp of spatial relationships ensures that each portrait, however sparely drawn, conveys the sitter's presence.


title: Hans Holbein the Younger

text: Holbein's painted portraits were closely founded on drawing. Holbein transferred each drawn portrait study to the panel with the aid of geometrical instruments. He then built up the painted surface in tempera and oil, recording the tiniest detail, down to each stitch or fastening of costume. In the view of art historian Paul Ganz, "The deep glaze and the enamel-like lustre of the colouring were achieved by means of the metallic, highly polished crayon groundwork, which admitted of few corrections and, like the preliminary sketch, remained visible through the thin layer of colour".


title: Hans Holbein the Younger

text: The result is a brilliant portrait style in which the sitters appear, in Foister's words, as "recognisably individual and even contemporary-seeming" people, dressed in minutely rendered clothing that provides an unsurpassed source for the history of Tudor costume. Holbein's humanist clients valued individuality highly. According to Strong, his portrait subjects underwent "a new experience, one which was a profound visual expression of humanist ideals".


title: Hans Holbein the Younger

text: Commentators differ in their response to Holbein's precision and objectivity as a portraitist. What some see as an expression of spiritual depth in his sitters, others have called mournful, aloof, or even vacant. "Perhaps an underlying coolness suffuses their countenances," wrote Holbein's 19th-century biographer Alfred Woltmann, "but behind this outward placidness lies hidden a breadth and depth of inner life". Some critics see the iconic and pared-down style of Holbein's later portraits as a regression. Kenyon Cox, for example, believes that his methods grew more primitive, reducing painting "almost to the condition of medieval illumination". Erna Auerbach relates the "decorative formal flatness" of Holbein's late art to the style of illuminated documents, citing the group portrait of Henry VIII and the Barber Surgeons' Company. Other analysts detect no loss of powers in Holbein's last phase.


title: Hans Holbein the Younger

text: Until the later 1530s, Holbein often placed his sitters in a three-dimensional setting. At times, he included classical and biblical references and inscriptions, as well as drapery, architecture, and symbolic props. Such portraits allowed Holbein to demonstrate his virtuosity and powers of allusion and metaphor, as well as to hint at the private world of his subjects. His 1532 portrait of Sir Brian Tuke, for example, alludes to the sitter's poor health, comparing his sufferings to those of Job. The depiction of the Five wounds of Christ and the inscription "INRI" on Tuke's crucifix are, according to scholars Bätschmann and Griener, "intended to protect its owner against ill-health". Holbein portrays the merchant Georg Gisze among elaborate symbols of science and wealth that evoke the sitter's personal iconography. However, some of Holbein's other portraits of Steelyard merchants, for example that of Derich Born, concentrate on the naturalness of the face. They prefigure the simpler style that Holbein favoured in the later part of his career.


title: Hans Holbein the Younger

text: Study of Holbein's later portraits has been complicated by the number of copies and derivative works attributed to him. Scholars now seek to distinguish the true Holbeins by the refinement and quality of the work. The hallmark of Holbein's art is a searching and perfectionist approach discernible in his alterations to his portraits. In the words of art historian John Rowlands:


title: Hans Holbein the Younger

text: This striving for perfection is very evident in his portrait drawings, where he searches with his brush for just the right line for the sitter's profile. The critical faculty in making this choice and his perception of its potency in communicating decisively the sitter's character is a true measure of Holbein's supreme greatness as a portrait painter. Nobody has ever surpassed the revealing profile and stance in his portraits: through their telling use, Holbein still conveys across the centuries the character and likeness of his sitters with unrivalled mastery.


title: Hans Holbein the Younger

text: During his last decade, Holbein painted a number of miniatures, which are small portraits worn as a kind of jewel. His miniature technique derived from the medieval art of manuscript illumination. His small panel portrait of Henry VIII shows an interpenetration between his panel and miniature painting. Holbein's large pictures had always contained a miniature-like precision. He now adapted this skill to the smaller form, somehow retaining a monumental effect. The twelve or so certain miniatures by Holbein that survive reveal his mastery of "limning", as the technique was called.


title: Hans Holbein the Younger

text: His miniature portrait of Jane Small, with its rich blue background, crisp outlines, and absence of shading, is considered a masterpiece of the genre. According to art historian Graham Reynolds, Holbein "portrays a young woman whose plainness is scarcely relieved by her simple costume of black-and-white materials, and yet there can be no doubt that this is one of the great portraits of the world. With remarkable objectivity Holbein has not added anything of himself or subtracted from his sitter's image; he has seen her as she appeared in a solemn mood in the cold light of his painting-room".


title: Hans Holbein the Younger

text: Throughout his life, Holbein designed 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.


title: Hans Holbein the Younger

text: 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.


title: Hans Holbein the Younger

text: 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".


title: Hans Holbein the Younger

text: 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 including Cornelis Hayes. 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.


title: Hans Holbein the Younger

text: Holbein's fame owes something to that of his sitters. Several of his portraits have become cultural icons. He created the standard image of Henry VIII. In painting Henry as an iconic hero, however, he also subtly conveyed the tyranny of his character. Holbein's portraits of other historical figures, such as Erasmus, Thomas More, and Thomas Cromwell, have fixed their images for posterity. The same is true for the array of English lords and ladies whose appearance is often known only through his art. For this reason, John North calls Holbein "the cameraman of Tudor history". In Germany, on the other hand, Holbein is regarded as an artist of the Reformation, and in Europe of humanism.


title: Hans Holbein the Younger

text: In Basel, Holbein's legacy was secured by his friend Amerbach and by Amerbach's son Basilius, who collected his work. The Amerbach-Kabinett later formed the core of the Holbein collection at the Kunstmuseum Basel. Although Holbein's art was also valued in England, few 16th-century English documents mention him. Archbishop Matthew Parker (1504–75) observed that his portraits were "delineated and expressed to the resemblance of life". At the end of the 16th century, the miniature portraitist Nicholas Hilliard spoke in his treatise "Arte of Limning" of his debt to Holbein: "Holbein's manner have I ever imitated, and hold it for the best". No account of Holbein's life was written until Karel van Mander's often inaccurate "Schilder-Boeck" (Painter-Book) of 1604.


title: Hans Holbein the Younger

text: Holbein's followers produced copies and versions of his work, but he does not seem to have founded a school. Biographer Derek Wilson calls him one of the great "one-offs" of art history. The only artist who appears to have adopted his techniques was John Bettes the Elder, whose "Man in a Black Cap" (1545) is close in style to Holbein. Scholars differ about Holbein's influence on English art. In Foister's view: "Holbein had no real successors and few imitators in England. The disparity between his subtle, interrogatory portraits of men and women whose gazes follow us, and the stylised portraits of Elizabeth I and her courtiers can seem extreme, the more so as it is difficult to trace a proper stylistic succession to Holbein's work to bridge the middle of the century".


title: Hans Holbein the Younger

text: Nevertheless, "modern" painting in England may be said to have begun with Holbein. That later artists were aware of his work is evident in their own, sometimes explicitly. Hans Eworth, for example, painted two full-length copies in the 1560s of Holbein's Henry VIII derived from the Whitehall pattern and included a Holbein in the background of his "Mary Neville, Lady Dacre". The influence of Holbein's "monumentality and attention to texture" has been detected in Eworths' work. According to art historian Erna Auerbach: "Holbein's influence on the style of English portraiture was undoubtedly immense. Thanks to his genius, a portrait type was created which both served the requirements of the sitter and raised portraiture in England to a European level. It became the prototype of the English Court portrait of the Renaissance period".


title: Hans Holbein the Younger

text: The fashion for Old Masters in England after the 1620s created a demand for Holbein, led by the connoisseur Thomas Howard, Earl of Arundel. The Flemish artists Anthony van Dyck and Peter Paul Rubens discovered Holbein through Arundel. Arundel commissioned engravings of his Holbeins from the Czech Wenceslaus Hollar, some of works now lost. From this time, Holbein's art was also prized in the Netherlands, where the picture dealer Michel Le Blon became a Holbein connoisseur. The first "catalogue raisonné" of Holbein's work was produced by the Frenchman Charles Patin and the Swiss Sebastian Faesch in 1656. They published it with Erasmus's "Encomium moriæ" ("The Praise of Folly") and an inaccurate biography that portrayed Holbein as dissolute.


title: Hans Holbein the Younger

text: In the 18th century, Holbein found favour in Europe with those who saw his precise art as an antidote to the Baroque. In England, the connoisseur and antiquarian Horace Walpole (1717–97) praised him as a master of the Gothic. Walpole hung his neo-Gothic house at Strawberry Hill with copies of Holbeins and kept a Holbein room. From around 1780, a re-evaluation of Holbein set in, and he was enshrined among the canonical masters. A new cult of the sacral art masterpiece arose, endorsed by the German Romantics. This view suffered a setback during the famous controversy known as the ""Holbein-Streit"" (Holbein dispute) in the 1870s. It emerged that the revered Meyer "Madonna" at Dresden was a copy, and that the little-known version at Darmstadt was the Holbein original. Since then, scholars have gradually removed the attribution to Holbein from many copies and derivative works. The current scholarly view of Holbein's art stresses his versatility, not only as a painter but as a draughtsman, printmaker, and designer. Art historian Erika Michael believes that "the breadth of his artistic legacy has been a significant factor in the sustained reception of his oeuvre".


title: Bukhara

text: Bukhara (Uzbek: /, ; , ) is the seventh-largest city in Uzbekistan, with a population of 280,187 , and the capital of Bukhara Region.


title: Bukhara

text: People have inhabited the region around Bukhara for at least five millennia, and the city has existed for half that time. Located on the Silk Road, the city has long served as a center of trade, scholarship, culture, and religion. The mother tongue of the majority of people of Bukhara is Tajik, a dialect of the Persian language, although Uzbek is spoken as a second language by most residents. Bukhara served as the capital of the Samanid Empire, Khanate of Bukhara, and Emirate of Bukhara and was the birthplace of scholar Imam Bukhari. The city has been known as "Noble Bukhara" ("Bukhārā-ye sharīf"). Bukhara has about 140 architectural monuments. UNESCO has listed the historic center of Bukhara (which contains numerous mosques and madrasas) as a World Heritage Site.


title: Bukhara

text: The exact name of the city of Bukhara in ancient times is unknown. The whole oasis was called Bukhara in ancient times, and probably only in the tenth century it was finally transferred to the city.


title: Bukhara

text: According to some scholars, the name dates back to the Sanskrit "Vihara" (Buddhist monastery). This word is very close to the word in the language of the Uyghur and Chinese Buddhists, who named their places of worship the same way. Very few artifacts related to Buddhism have survived to modern age in the city. But, numerous Arabic, Persian, European and Chinese travellers and historians noted the place and Uzbekistan itself to be once populated by mostly Buddhists and few Zoroastrians. Indeed the first Islamic text on Bukhara relates to the first Arab invader of Bukhara, Ubaidullah bin Ziad, who noted Bukhara to be a Buddhist country with Buddhist monasteries ruled by a queen regent acting on behalf of her son.


title: Bukhara

text: According to other sources (such as "Encyclopædia Iranica"), the name Bukhara is possibly derived from the Sogdian "βuxārak" ("Place of Good Fortune"), a name for Buddhist monasteries.


title: Bukhara

text: In the Tang dynasty, and other successive dynasties of Imperial China, Bukhara was known under the name of "Buhe/Puhe"(捕喝), which has been replaced in Chinese by the modern generic phonetic spelling "Bùhālā" (布哈拉).


title: Bukhara

text: In the 19-20th centuries, Bukhara was known as "Bokhara", in the English publications, as exemplified by the writings and reports on the Emirate of Bukhara during the Great Game.


title: Bukhara

text: Since the Middle Ages, the city has been known as "Buḫārā" / بخارا in Arabic and Persian sources. The modern Uzbek spelling is "Buxoro".


title: Bukhara

text: The city's name was mythologized as "Albracca" in the Italian epic poem "Orlando Innamorato," published in 1483 by Matteo Maria Boiardo.


title: Bukhara

text: The history of Bukhara stretches back millennia. By 850, Bukhara served as the capital of the Samanid Empire, and was the birthplace of Imam Bukhari.


title: Bukhara

text: At the beginning of the 11th century, Bukhara became part of the Turkic state of the Karakhanids. The rulers of the Karakhanids built many buildings in Bukhara: the Kalyan minaret, the Magoki Attori mosque, palaces and parks.


title: Bukhara

text: Bukhara lies west of Samarkand and was previously a focal point of learning eminent all through the Islamic world. It is the old neighborhood of the incomparable Sheik Naqshbandi. He was a focal figure in the advancement of the mysterious Sufi way to deal with theory, religion and Islam.


title: Bukhara

text: It is now the capital of Bukhara Region (viloyat) of Uzbekistan. Located on the Silk Road, the city has long been a center of trade, scholarship, culture, and religion. During the golden age of the Samanids, Bukhara became a major intellectual center of the Islamic world, and was renown for its numerous libraries. The historic center of Bukhara, which contains numerous mosques and madrassas, has been listed by UNESCO as a World Heritage Site.


title: Bukhara

text: Genghis Khan besieged Bukhara for 15 days in 1220. As an important trading centre, Bukhara was home to a community of medieval Indian merchants from the city of Multan (modern-day Pakistan) who were noted to own land in the city.


title: Bukhara

text: Bukhara was the last capital of the Emirate of Bukhara and was besieged by the Red Army during the Russian Civil War. During the Bukhara operation of 1920, Red Army troops under the command of Bolshevik general Mikhail Frunze attacked the city of Bukhara. On 31 August 1920, the Emir Alim Khan fled to Dushanbe in Eastern Bukhara (later he escaped from Dushanbe to Kabul in Afghanistan). On 2 September 1920, after four days of fighting, the emir's citadel (the "Ark") was destroyed, the red flag was raised from the top of Kalyan Minaret. On 14 September 1920, the All-Bukharan Revolutionary Committee was set up, headed by A. Mukhitdinov. The government—the Council of People's Nazirs (see "nāẓir")—was presided over by Faizullah Khojaev.


title: Bukhara

text: The Bukharan People's Soviet Republic existed from 1920 to 1925 when the city was integrated into the Uzbek Soviet Socialist Republic. Fitzroy Maclean, then a young diplomat in the British Embassy in Moscow, made a surreptitious visit to Bokhara in 1938, sight-seeing and sleeping in parks. In his memoir "Eastern Approaches", he judged it an "enchanted city" with buildings that rivalled "the finest architecture of the Italian Renaissance". In the latter half of the 20th century, the war in Afghanistan and civil war in Tajikistan brought Dari- and Tajik-speaking refugees into Bukhara and Samarkand. After integrating themselves into the local Tajik population, these cities face a movement for annexation into Tajikistan with which the cities have no common border.


title: Bukhara

text: There is also a metal sculpture of Nasruddin Hodja, the quick-witted and warm-hearted man, who forms the central character of many children's folk stories in Central Asian, Afghanistan, and Pakistan, sitting atop his mule with one hand on his heart and the other with an 'All OK' sign above his head.


title: Bukhara

text: Chashma-Ayub, or "Job's spring," is located near the Samani mausoleum. Its name is said to reflect a legend that states the prophet Job ("Ayub" in the Quran) visited this place and brought forth a spring of water by the blow of his staff on the ground. The water of this well is said to be exceptionally pure, and is regarded for its supposed "healing qualities." The current edifice at the site was constructed during the reign of Timur, and features a Khwarazm-style conical dome that is otherwise uncommon in the region.


title: Bukhara

text: The Ismail Samani mausoleum (9th–10th centuries), is one of the most highly esteemed work of Central Asian architecture. It was built in the 9th century (between 892 and 943) as the resting-place of Ismail Samani—the founder of the Samanid dynasty, which was the last native Persian dynasty to rule the region in the 9th to 10th centuries, after the Samanids established virtual independence from the Abbasid Caliphate in Baghdad.


title: Bukhara

text: Built in 1712, on the opposite side of the citadel of Ark in Registan district, Bolo Haouz Mosque is inscribed in the UNESCO World Heritage Site list along with the other parts of the historic city. It served as a Friday mosque during the time when the emir of Bukhara was being subjugated under the Bolshevik Russian rule in 1920s.


title: Bukhara

text: Char Minor (alternatively spelled Chor Minor, and also alternatively known as the Madrasah of Khalif Niyaz-kul) is a building tucked away in a lane northeast of the Lyabi Hauz complex. The structure was built by Khalif Niyaz-kul, a wealthy Bukharan of Turkmen origin in the 19th century under the rule of the Janid dynasty. The four-towered structure is sometimes mistaken for a gate to the madras that once existed behind the structure; however, the Char-Minar is actually a complex of buildings with two functions, ritual and shelter.


title: Bukhara

text: The main edifice is a mosque. In spite of its unusual outward shape, the building has a typical interior for a Central Asian mosque. Owing to the buildings cupola, the room has good acoustic properties and therefore takes on special significance of 'dhikr-hana'—a place for ritualized 'dhikr' ceremonies of Sufi, the liturgy of which often include recitation, singing, and instrumental music.


title: Bukhara

text: On either side of the central edifice are located dwelling rooms, some of which have collapsed, leaving only their foundations visible. Consequently, for full functioning of madrasah only of classroom and some utility rooms is lacking. However, it was common practice that so-called madrasahs had no lecture rooms or, even if they had, no lectures had been given in them. These madrasahs were employed as student hospices.


title: Bukhara

text: Each of the four towers has different decorational motifs. Some say that elements of decoration reflect the four religions known to Central Asians. One can find elements reminiscent of a cross, a Christian fish motif, and a Buddhist praying-wheel, in addition to Zoroastrian and Islamic motifs.


title: Bukhara

text: In 1995, due to an underground brook, one of the four towers collapsed and emergency assistance was applied for and granted by UNESCO under the World Heritage Fund. Although the collapse resulted in destabilizing the entire structure, the authorities were anxious to keep awareness of the disaster to a minimum. Without explanation the building disappeared from the list of sights and after hurried reconstruction of the tower "using non-traditional building material, such as poor quality cement and steel" Char Minar returned as one of the most popular sights of the city, yet the event has been kept secret ever since.


title: Bukhara

text: On the esplanade to the right from Char-Minar is a pool, likely of the same age as the rest of the building complex. Char Minar is now surrounded mainly by small houses and shops along its perimeter.


title: Bukhara

text: The former Magoki Attori mosque was constructed in the 9th century on the remains of what may have been an older Zoroastrian temple. The mosque was destroyed and rebuilt more than once, and the oldest part now remaining is the south façade, which dates from the 12th century—making it one of the oldest surviving structures in Bukhara, and one of few which survived the onslaught of Genghis Khan. Lower than the surrounding ground level, the mosque was excavated in 1935. It no longer functions as a mosque, but, rather, houses a carpet museum.


title: Bukhara

text: In Bukhara there is a mosque which is said to be that of Mir Sayyid Ali Hamadani, the patron saint of Kashmiri Muslims in the Valley of Kashmir.


title: Bukhara

text: About 140 miles (225 km) west of Samarkand in south-central Uzbekistan, Bukhara is located on the Zeravshan River, at an elevation of 751 feet (229 meters).


title: Bukhara

text: Bukhara has a typically Central Asian cool arid climate (Köppen "BWk"). The average maximum afternoon temperature in January is , rising to an average maximum of around in July. Mean annual precipitation is .


title: Bukhara

text: The water was important in the hot, dry climate of Central Asia, so from ancient times, irrigation farming was developed. Cities were built near rivers and water channels were built to serve the entire city. Uncovered reservoirs, known as "hauzes," were constructed. Special covered water reservoirs, or "sardobas," were built along caravan routes to supply travelers and their animals with water.


title: Bukhara

text: However, the heavy use of agrochemicals during the era under the Soviet Union, diversion of huge amounts of irrigation water from the two rivers that feed Uzbekistan, and the chronic lack of water treatment plants, have caused health and environmental problems on an enormous scale.


title: Bukhara

text: Bukhara International Airport has regularly scheduled flights to cities in Uzbekistan and Russia. The Turkmenistan border is about 80 km away with the nearest city there being Türkmenabat, connected via the M37 highway which continues to other places in Turkmenistan including Ashgabat. The city is also served by railroad links with the rest of Uzbekistan, and is a hub for roadways leading to all major cities in Uzbekistan and beyond, including Mazar-i-Sharif in Afghanistan via the M39 highway. The city of Samarkand is 215 km to the east of Bukhara.


title: Bukhara

text: Bukhara city is the largest transport hub after Tashkent in Uzbekistan. Inside the city there is facility of bus transportation. There are over 45 bus lines. Majority of them have been equipped with ISUZU buses but some buses are being brought from China. By the number of buses and bus routes facilities Bukhara is the largest after Tashkent in Uzbekistan.


title: Bukhara

text: Bukhara recorded a population of 279,200 in the year 2019. Bukhara (along with Samarkand) is one of the two major centers of Uzbekistan's Tajik minority. Bukhara was also home to the Bukharian Jews, whose ancestors settled in the city during Roman times. Most Bukharian Jews left Bukhara between 1925 and 2000.


title: Bukhara

text: Ali-Akbar Dehkhoda defines the name Bukhara itself as meaning "full of knowledge", referring to the fact that in antiquity, Bukhara was a scientific and scholarship powerhouse.


title: Bukhara

text: In the Italian romantic epic "Orlando innamorato" by Matteo Maria Boiardo, Bukhara is called Albracca and described as a major city of Cathay. There, within its walled city and fortress, Angelica and the knights she has befriended make their stand when attacked by Agrican, emperor of Tartary. As described, this siege by Agrican resembles the historic siege by Genghis Khan in 1220.


title: Bukhara

text: According to the official statistics, the city's population is 82% Uzbeks, 6% Russians, 4% Tajiks, 3% Tatars, 1% Koreans, 1% Turkmens, 1% Ukrainians, 2% of other ethnicities. However, official Uzbek numbers have for long been criticized and refuted by various observers and Western sources and it is widely assumed that the population of the city consists mainly of Tajik-speaking Tajiks, with ethnic Uzbeks forming a growing minority. Exact figures are difficult to evaluate, since many people in Uzbekistan either identify as "Uzbek" even though they speak Tajik as their first language, or because they are registered as Uzbeks by the central government despite their Tajik language and identity. According to Soviet estimates in the early 20th century (based on numbers from 1913 and 1917), the Tajiks formed the overwhelming majority of city.


title: Bukhara

text: The religion with the largest community of followers is Islam. The majority of the Muslims are Sunni Muslims who make up 88 percent of the population. Eastern Orthodox make up 9 percent, and others 3 percent.


title: Sumatriptan

text: Sumatriptan, sold commonly under brand names Imitrex and Treximet among others, is a medication used to treat migraine headaches and cluster headaches. It is taken orally, intranasally, or by subcutaneous injection. Therapeutic effects generally occur within three hours.


title: Sumatriptan

text: Its primary effect as a serotonin 5-HT1B/1D receptor agonist can create common side effects such as chest pressure, fatigue, vomiting, tingling, and vertigo. Serious side effects may include serotonin syndrome, heart attacks, strokes, and seizures. With excessive medication overuse headaches may occur. It is unclear if use during pregnancy or breastfeeding is safe. The mechanism of action not entirely clear. It is in the triptan class of medications.


title: Sumatriptan

text: Sumatriptan was patented in 1982 and approved for medical use in 1991. It is on the World Health Organization's List of Essential Medicines. It is available as a generic medication. In 2020, it was the 111th most commonly prescribed medication in the United States, with more than 5million prescriptions. It is also available as the combination product sumatriptan/naproxen.


title: Sumatriptan

text: Sumatriptan is effective for ending or relieving the intensity of migraine and cluster headaches. It is most effective when taken early after the start of the pain. Injected sumatriptan is more effective than other formulations.


title: Sumatriptan

text: Overdose of sumatriptan can cause sulfhemoglobinemia, a rare condition in which the blood changes from red to green, due to the integration of sulfur into the hemoglobin molecule. If sumatriptan is discontinued, the condition reverses within a few weeks.


title: Sumatriptan

text: Serious cardiac events, including some that have been fatal, have occurred following the use of sumatriptan injection or tablets. Events reported have included coronary artery vasospasm, transient myocardial ischemia, myocardial infarction, ventricular tachycardia, and ventricular fibrillation.


title: Sumatriptan

text: The most common side effects reported by at least 2% of patients in controlled trials of sumatriptan (25-, 50-, and 100-mg tablets) for migraine are atypical sensations (paresthesias and warm/cold sensations) reported by 4% in the placebo group and 5–6% in the sumatriptan groups, pain and other pressure sensations (including chest pain) reported by 4% in the placebo group and 6–8% in the sumatriptan groups, neurological events (vertigo) reported by less than 1% in the placebo group and less than 1% to 2% in the sumatriptan groups. Malaise/fatigue occurred in less than 1% of the placebo group and 2–3% of the sumatriptan groups. Sleep disturbance occurred in less than 1% in the placebo group to 2% in the sumatriptan group.


title: Sumatriptan

text: Sumatriptan is molecularly similar to serotonin (5-HT), and is a 5-HT receptor (types 5-HT and 5-HT) agonist. Sumatriptan's primary therapeutic effect is related in its inhibition of the release of Calcitonin gene-related peptide (CGRP), likely through its 5-HT receptor-agonist action. This has been substantiated by the efficacy of more recently developed CGRP targeting drugs and antibodies developed for the preventive treatment of migraine. How agonism of the 5-HT receptors inhibits CGRP release is not fully understood. CGRP is believed to cause sensitization of trigeminal nociceptive neurons, contributing to the pain experienced in migraine.


title: Sumatriptan

text: Sumatriptan is also shown to decrease the activity of the trigeminal nerve, which presumably accounts for sumatriptan's efficacy in treating cluster headaches. The injectable form of the drug has been shown to abort a cluster headache within 30 minutes in 77% of cases.


title: Sumatriptan

text: Sumatriptan is administered in several forms: tablets, subcutaneous injection, and nasal spray. Oral administration (as succinate salt) has low bioavailability, partly due to presystemic metabolism—some of it gets broken down in the stomach and bloodstream before it reaches the target arteries. A rapid-release tablet formulation with the same bioavailability but a high concentration can achieve therapeutic effects on average 10–15 minutes earlier than other oral forumulations. When injected, sumatriptan is faster-acting (usually within 10 minutes), but the effect lasts for a shorter time. Sumatriptan is metabolised primarily by monoamine oxidase A into 2-{5-[(methylsulfamoyl)methyl]-indole-3-yl}acetic acid, which is then conjugated to glucuronic acid. These metabolites are excreted in the urine and bile. Only about 3% of the active drug may be recovered unchanged.


title: Sumatriptan

text: There is no simple, direct relationship between sumatriptan concentration (pharmacokinetics) per se in the blood and its anti-migraine effect (pharmacodynamics). This paradox has, to some extent, been resolved by comparing the rates of absorption of the various sumatriptan formulations, rather than the absolute amounts of drug that they deliver.


title: Sumatriptan

text: In July 2009, the US FDA approved a single-use jet injector formulation of sumatriptan. The device delivers a subcutaneous injection of sumatriptan, without the use of a needle. Autoinjectors with needles have been previously available in Europe and North America.


title: Sumatriptan

text: Phase III studies with an iontophoretic transdermal patch (Zelrix/Zecuity) started in July 2008. This patch uses low voltage controlled by a pre-programmed microchip to deliver a single dose of sumatriptan through the skin within 30 minutes. Zecuity was approved by the US FDA in January 2013. Sales of Zecuity have been stopped following reports of skin burns and irritation.


title: Sumatriptan

text: In the United States, it is available only by medical prescription. It is available over the counter in many states in Australia. The product requires labelling by a pharmacist and is only available in packs of two without a medical prescription. However, it can be bought over the counter in the UK and Sweden.


title: Sumatriptan

text: In Russia versions of sumatriptan, which are not registered in the National registry of medications, may be regarded as narcotic drugs (derivatives of dimethyltriptamine).


title: Sumatriptan

text: Glaxo patents for sumatriptan expired in February 2009. At that time, Imitrex sold for about $25 a pill. Par Pharmaceutical then introduced generic versions of sumatriptan injection (sumatriptan succinate injection) 4- and 6-mg starter kits and 4- and 6-mg filled syringe cartridges, and 6-mg vials soon after.


title: Sumatriptan

text: Mylan Laboratories Inc., Ranbaxy Laboratories, Sandoz (a subsidiary of Novartis), Dr. Reddy's Laboratories, and other companies have been producing generic versions of sumatriptan tablets in 25-, 50-, and 100-mg doses. Generic forms of the drug are available in U.S. and European markets after Glaxo's patent protections expired in the respective countries. A nasal spray form of sumatriptan known as AVP-825 has been developed by Avanir and is generically available in some countries.


title: Sumatriptan

text: According to the American Headache Society, "Patients frequently state that they have difficulty accessing triptans prescribed to them." In the U.S. triptans cost from $12 to $120 each, and more that 80% of U.S. health insurance plans limit place a limit on the amount of pills available to a patient per month, which has been called "arbitrary and unfair."


title: Pruitt Taylor Vince

text: Pruitt Taylor Vince (born July 5, 1960) is an American character actor. He became best known for his roles in the films "Shy People" (1987) and "Mississippi Burning" (1988). He also appeared in "Jacob's Ladder" (1990), "Nobody's Fool" (1994), "Heavy" (1995), "Beautiful Girls" (1996), "The Legend of 1900" (1998), "Nurse Betty" (2000), "Identity" (2003), "Constantine" (2005), "Gotti" (2018), and "Bird Box" (2018). He is also known for his role of J.J. Laroche in "The Mentalist" (2008-2015).


title: Pruitt Taylor Vince

text: Vince has also appeared on many television series. In 1997, he won a Primetime Emmy Award for his guest role as Clifford Banks in the second season of the television series "Murder One".


title: Pruitt Taylor Vince

text: Vince was born in Baton Rouge, Louisiana. He reportedly began studying acting due to a mistake; a computer error in his high school registration scheduled him in an acting class, and he decided to stay. He attended Louisiana State University.


title: Pruitt Taylor Vince

text: For most of his life, Vince has had a condition called nystagmus which is the involuntary movement of the eye. He has tried to incorporate it into his roles.


title: Pruitt Taylor Vince

text: Vince made his film debut in Jim Jarmusch's "Down by Law," but his scenes were edited out. He had prominent supporting roles in a number of major films, including a turn as a dimwitted Ku Klux Klan member in "Mississippi Burning" (1988), Lee Bowers in "JFK" (1991), and the main character's best friend in "Nobody's Fool" (1994). His first lead role was in James Mangold's independent film "Heavy" (1995), playing a sweet, silent overweight cook harboring a crush on a waitress played by Liv Tyler. He also starred in Giuseppe Tornatore's Italian film "Legend of 1900" (1998).


title: Pruitt Taylor Vince

text: Vince often alternates between heroic and villainous characters. He played a lovable, small town pub owner in "Beautiful Girls", a serial killer with multiple personalities in "Identity" (a second collaboration with director Mangold); a priest with psychic abilities in the 2005 film "Constantine", a gossip columnist in "Simone", and a pompous sheriff in "Nurse Betty". He can also be seen in "Love from Ground Zero" as Walter. Vince played a Southern policeman in "Angel Heart", a kidnapper's assistant in "Trapped", and a deputy prison warden in Oliver Stone's "Natural Born Killers".


title: Pruitt Taylor Vince

text: Other film titles include the neo-noir "China Moon" and the psychological horror film "Jacob's Ladder".


title: Pruitt Taylor Vince

text: Guest appearances on TV shows include "Deadwood", "Alias", "The X-Files", "Miami Vice", "Quantum Leap", "Chicago Hope", In the Heat of the Night, "", "", and the American remake of "Touching Evil". In 2011, he appeared as Otis in the AMC television series "The Walking Dead". He also had a guest role playing a 600-lb. patient in Fox's medical drama "House". From 2010 to 2014, he had a multi-episode appearance in "The Mentalist". In 2012, he appeared in a full episode of "Justified". He took a comic role as "Jelly" in "Flypaper". In 2018, he appeared on an episode of "The Blacklist" as Lawrence Devlin.


title: Pruitt Taylor Vince

text: Vince received an Emmy Award in 1997 for Outstanding Guest Actor in a Drama Series for his role as serial killer Clifford Banks during the second season of the television series "Murder One".


title: Michael Caine filmography

text: Michael Caine is an English actor who has appeared in over 130 films and has had multiple television appearances. Caine's acting career began in the 1950s, when he was cast in many small, often uncredited roles in British films. Caine gained recognition as one of the most famous actors of the 1960s through his breakthrough role in the film "Zulu" (1964). He then portrayed spy Harry Palmer in the films "The Ipcress File" (1965), "Funeral in Berlin" (1966) and "Billion Dollar Brain" (1967). He also had starring roles in "The Italian Job" and "Battle of Britain" (both 1969). His role in "Sleuth" (1972) led him to an Academy Award for Best Actor nomination. Caine has won a Best Supporting Actor Oscar for the films "Hannah and Her Sisters" (1986) and "The Cider House Rules" (1999). More recently, Caine has gained a new following through his collaborations with British-American filmmaker Christopher Nolan in The Dark Knight Trilogy films, as well as "The Prestige" (2006), "Inception" (2010), "Interstellar" (2014), and "Tenet" (2020).


title: Michael Caine filmography

text: Note: in "The Italian Job" (2001 video game), Caine's voice (as Charlie Croker) was impersonated by Phil Cornwell


title: Honda Civic (tenth generation)

text: The tenth-generation Honda Civic (FC/FK) is a compact car (C-segment) manufactured by Honda since 2015, replacing the ninth-generation Civic. It was first released in November 2015 in the North American market, followed by its introduction in Europe and Asia-Pacific in 2016, and in Japan in 2017. This generation marked the unification of the Civic range, as Honda ceased making a dedicated version for the European market—a strategy employed since the seventh-generation Civic—in favour of a globally marketed model. As the result, three body styles were introduced with a near-identical design which are sedan, hatchback, and coupe.


title: Honda Civic (tenth generation)

text: A Type R version based on the hatchback model was released as a prototype model in September 2016, and has been sold from 2017 in several markets, including North America which received the Civic Type R model for the first time.


title: Honda Civic (tenth generation)

text: The tenth-generation Civic was designated as a global model, which improved development efficiency and gained cost savings. In turn, Honda allocated the cost savings to improve the performance and quality of the vehicle. During development, Honda targeted the model at the key U.S. market, resurrecting its once-discarded "lead-country" system, which calls for developing a model specifically for its main targeted market but selling it in other regions as well.


title: Honda Civic (tenth generation)

text: The model is based on the Honda compact global platform and adopts a sleeker, more sporty fastback design.


title: Honda Civic (tenth generation)

text: It utilizes higher grade steel than the previous model, the unit body is lighter, while new body sealing techniques resulted in a 58 percent reduction in cabin air leaks. Rear disc brakes are also made standard. To minimize NVH, the Civic adds fluid-filled suspension bushings. A dual pinion steering system is introduced along with a thicker and more rigid diameter steering column for improved steering feel; additionally, the steering gear ratio is variable, with 2.2 turns lock-to-lock compared to 3.1 turns lock-to-lock from the previous model and a quicker 10.93:1 steering ratio.


title: Honda Civic (tenth generation)

text: The suspension is also completely redesigned, with a revamped MacPherson struts for the front suspension and a new multi-link rear setup mounted to an ultra-rigid rear subframe. The suspension is also lower, which combined with a lower floor and engine, allows the center of gravity to be reduced by . Other features aimed at improving the ride and handling include hydraulic compliance bushings, variable gear ratio steering, beefier front and rear stabilizer bars, and brake-based torque vectoring.


title: Honda Civic (tenth generation)

text: The production sedan model debuted for North American market on September 16, 2015. Compared to the previous generation, the tenth-generation Civic sedan is longer, wider, and lower with a longer wheelbase. It also introduces an additional of interior space with of added second row legroom compared to the outgoing model, and the trunk space has been increased by with a lower liftover height.


title: Honda Civic (tenth generation)

text: The Civic Concept was unveiled in April 2015 at the New York International Auto Show. The production coupe was unveiled at the 2015 Los Angeles Auto Show in November, sales began during March 2016. Offered only in North America, the coupe version offered two engine options, including a 1.5-liter turbo. The coupe version offered a stylistic difference compared to its sedan counterpart.


title: Honda Civic (tenth generation)

text: The coupe was discontinued for the 2021 model year due to low sales. According to Honda, the tenth-generation Civic coupe made up around 16 percent of sales when it debuted in 2016, before dropping to 6 percent during 2020.


title: Honda Civic (tenth generation)

text: The Civic Hatchback prototype model was unveiled at the 2016 Geneva Motor Show, while production version was unveiled at the 2016 Paris Motor Show. It was developed jointly by Honda R&D teams in Europe and Japan, and manufactured in its Swindon plant in the UK, Prachinburi plant in Thailand, and in China by Dongfeng Honda. US models went on sale in September 2016 for the 2017 model year, sourcing the vehicles from the UK.


title: Honda Civic (tenth generation)

text: The Civic Si was unveiled in November 2016 as a prototype model at the Los Angeles International Auto Show. It is powered by a turbocharged 1.5-liter engine available exclusively with a 6-speed manual. Performance features include active shock absorbers, active steering and a limited-slip differential. Honda claims the tenth-generation Civic Si trim (which is the eighth-generation of Civic to offer an Si trim level) reaches in 7.0 seconds, though "Car and Driver" was able to bring a 2017 Civic Si Coupe to in 6.3 seconds.


title: Honda Civic (tenth generation)

text: The Type R was unveiled as a prototype model the 2016 Paris Motor Show, with the production model unveiled the following year. The Type R shared the same overall body as the regular hatchback but with a more performance-focused appearance, with an added body kits, red 'H' badge, air intake on the hood, an air scoop, 20-inch piano black alloy wheels with red accents, enlarged wheel arches, and three tailpipes. It has a 2.0-liter turbocharged inline-four engine which produces and of torque. Fuel efficiency is rated at a combined consumption of .


title: Honda Civic (tenth generation)

text: The revised model of the Civic sedan and coupe was revealed in August 2018 for the 2019 model year in North America, and available in the US market since October 10, 2018.


title: Honda Civic (tenth generation)

text: In North America, it features Honda Sensing as standard and Sport Trim on Sedan and Coupe variants in the US market. The Sport Trim is equipped with the touchscreen display for the sedan and coupe variants, unlike the Hatchback variant which is equipped with the more basic non-touchscreen infotainment display. The US market Sport trim for the sedan and coupe variants was offered with the 6-speed manual and CVT. Changes at the front features a black housing around the projector headlamps for the non turbo variant, restyled lower air splitter, piano black front grille, chrome/piano black accented foglamp trim and lower chrome trim/black diffuser trim at the rear bumper. The interior is mostly unchanged except for the inclusion of volume knobs for the 7-inch touchscreen display, with additional physical buttons to adjust the fan speed for the air conditioner next to the climate button.


title: Honda Civic (tenth generation)

text: A new Sport trim was added above the LX trim, adding rectangular centre exhaust, rear decklid spoiler and 18’’ alloy wheels.


title: Honda Civic (tenth generation)

text: Production of the sedan began at Honda of Canada Manufacturing on 20 October 2015 and shortly later at Honda Manufacturing of Indiana began on October 27. Civic Hatchbacks were produced at Honda of the UK Manufacturing (HUM) until 28 July 2021 when the last car built at the plant, a Civic sedan for the US market, rolled off the production line. The plant closed on the 30th July 2021.


title: Honda Civic (tenth generation)

text: The 2.0-liter and 1.5-liter turbocharged engines used in North American Civic are manufactured in Anna, Ohio and Alliston, Ontario. The vehicles' automatic transmissions (CVTs) are sourced from Honda plants in Russells Point, Ohio and Celaya, Mexico.


title: Honda Civic (tenth generation)

text: The tenth-generation sedan was released in November 2015, the coupe in early 2016, and hatchback in 2017. All models have a 2.0-liter naturally-aspirated gasoline engine or 1.5-liter turbo gasoline engines, except for the hatchback, which only comes with the 1.5-liter direct injected turbo engine. The 2.0-liter engine sedan model paired with the CVT has an EPA-estimated fuel economy of 31/40/34 mpg (city/highway/combined). A 6-speed manual transmission or CVT is offered on all models, except for the Type R and Si models, which only come with the 6-speed manual transmission, and the Touring models, which only come with a CVT.


title: Honda Civic (tenth generation)

text: Higher end trim levels of the 1.5-liter turbocharged and 2.0-liter naturally-aspirated engines only come with a CVT. The Sport Hatchback is a performance trim level that is available with either a CVT or 6-speed manual transmission. Si is a performance trim level that also only comes with the 6-speed manual, but it has a 1.5-liter turbo instead of the 2.0-liter turbo of the Type R, and is only offered as a sedan or coupe, not a hatchback. In 2019, an additional Sport trim for coupe and sedan was introduced between the LX and EX model featuring a gloss black grille and 18” rims but uses the 2.0-liter engine, giving buyers an option on top of the standard EX model. For the 2020 model year, Honda expanded the availability of Civic's optional six-speed manual transmission to include the hatchback's top Sport Touring trim.


title: Honda Civic (tenth generation)

text: The Type R model was also released in 2017 with a hatchback body style, featuring an exclusive 2.0-liter turbo gasoline engine not offered in any other model.


title: Honda Civic (tenth generation)

text: The Civic was revived for the Japanese domestic market in 2017, after a seven-year hiatus that skipped the ninth-generation except for 750 units of the UK-built Type R. The tenth-generation Civic line was revealed in Japan on 27 July 2017 and went on sale on 29 September 2017. It is available in both sedan and hatchback forms, with the former was manufactured locally in Yorii, Saitama, while the latter was imported from the UK. The facelifted version of both sedan and hatchback versions were revealed on 15 November 2019, unveiled on 10 January 2020 at the Tokyo Auto Salon and released on January 23, 2020. The sedan model was discontinued in August 2020 with local production ending due to lower than expected sales, while the hatchback continued to be available up to the introduction of the eleventh-generation Civic.


title: Honda Civic (tenth generation)

text: European models went on sale in spring 2017. Early models included a choice of 3 engines (1.0-litre and 1.5-litre turbo, 1.6-litre diesel all with either a 6-speed manual or a CVT). It was introduced to the UK market in 2017. It first arrived with the hatchback model, with the saloon model joining the lineup in 2018.


title: Honda Civic (tenth generation)

text: After the launch of the current generation Civic sedan in Australia in June 2019, sales of the Honda model shot up almost 50 percent. It has about 23 percent of private market share, matching performance of the best sellers in the segment. Honda does not compete in fleet or rental market. The biggest seller is the RS contributing to over 25 percent of sales, while 60 percent of sales is made up of the turbocharged models in the lineup. The hatchback was launched in May 2017.


title: Honda Civic (tenth generation)

text: The tenth-generation Civic sedan was launched in China on 14 April 2016. The only engines available are the 1.0-litre turbocharged P10A1 and the 1.5-litre turbocharged L15B8 engine paired with 6-speed manual and CVT gearboxes. Trim levels for the Chinese market are known as the 180TURBO CVT, 180TURBO manual, 220TURBO CVT and 220TURBO manual. The hatchback model was introduced in China in 2020 and positioned above the sedan.


title: Honda Civic (tenth generation)

text: Honda manufactured the tenth-generation Civic in Sumaré (Brazil) from 2016 to November 2021. It is the last generation of Civic to be built in Brazil. The Civic was manufactured in Brazil since 1997.


title: Honda Civic (tenth generation)

text: The tenth-generation Civic sedan was launched on April 7, 2016 at the 24th Indonesia International Motor Show in Jakarta by Honda Prospect Motor. It uses the newer 1.5 L "L15B7" I4 i-VTEC engine with a turbocharger. The hatchback was also launched on June 9, 2017 and uses the same engine as the sedan, and is available in S and E trim levels paired with CVT. The sedan received its facelift on February 21, 2019, while the hatchback received its facelift on February 6, 2020. For the facelifted hatchback model, the S and E trims were replaced with the RS trim.


title: Honda Civic (tenth generation)

text: On June 9, 2016, the Civic was launched in Malaysia with only the sedan body style which was offered with three variants: 1.8 S, 1.5 Turbo and 1.5 Turbo Premium.


title: Honda Civic (tenth generation)

text: The facelifted version of the Civic for the Malaysian market was launched on February 26, 2020. Three same variants retained for the Civic facelift, a base 1.8 S, a mid-spec 1.5 TC and range-topping 1.5 TC-P. Honda Sensing is available on the top spec 1.5 TC-P.


title: Honda Civic (tenth generation)

text: The Honda Civic 1.8 S also has been chosen as the new mobile patrol vehicles (MPV) of the Royal Malaysian Police.


title: Honda Civic (tenth generation)

text: The tenth-generation Civic was launched in the Philippines on April 26, 2016. It is offered in 2 trim levels, 1.8 E and 1.5 RS Turbo. 2 engine choices are offered, the 1.8-litre naturally aspirated with i-VTEC technology carried over from the previous generation model produces and of torque (E trim) and the new 1.5-litre VTEC Turbo produces and of torque, equipped with turbocharger (RS trim). Both engines are mated to Earth Dreams continuously variable transmission (CVT). All Philippine-market Civics are imported from Thailand.


title: Honda Civic (tenth generation)

text: The facelifted version of the Civic was launched in April 2019, and is offered in 3 trim levels, 1.8 S, 1.8 E and 1.5 RS Turbo. The base 1.8 S features projector halogen headlamps, rearview camera, electronic parking brake and a 7" inch touchscreen audio system. The 1.8 S has the same wheel design as the pre-facelift 1.8 E trim. The 1.8 E adds push button start/stop, power folding side mirrors, full LED headlamps and a new 16" inch alloy wheel design, while the 1.5 RS Turbo received a new 18" inch alloy wheel design, aluminum sport pedals and a volume knob for the infotainment system.


title: Honda Civic (tenth generation)

text: The Civic sedan was launched by the local dealership with a choice of a 1.6L or 1.5L Turbo in July 2016, and facelifted in January 2019. For a limited period of time, the hatchback form was offered as well however in limited units from 2017 till mid-2018. In January 2019, the Civic facelift was released along with new wheel design for the 1.6L model, inclusion of additional AC buttons next to the climate buttons for both models and additional volume knob for the touchscreen headunit. While both variants received the facelift bumpers and shark-fin antennas, the front grille for both 1.6 and 1.5T models remained as chrome. However, a sports edition package is available for both models with gloss black grille, added skirting, rear spoiler and aftermarket rims. In April 2020, a new color Coffee Cherry Red Metallic was available and it replaces the Rallye Red color.


title: Honda Civic (tenth generation)

text: Honda Automobile Thailand debuted the Civic on March 12, 2016. Choices include E, EL, Turbo and Turbo RS, a 1.8-litre naturally aspirated with i-VTEC technology that produces and of torque (E, EL) and the new 1.5-litre VTEC TURBO produces and of torque, achieved with the employment of turbocharger (Turbo, Turbo RS, Hatchback). Both engines are mated to Earth Dreams continuously variable transmission (CVT).


title: Honda Civic (tenth generation)

text: The facelifted Civic debuted at the Thailand International Motor Expo on November 28, 2018, with Turbo RS variant equipped with Honda Sensing, sporting a piano black front grill and matching piano black fog lamp trim on the exterior and additional buttons to adjust the fan speed for the air conditioner next to the climate button in the interior. The other variants included the shifting of the rear windshield antenna to the car roof with the addition of a shark fin antenna and inclusion of volume knobs for the 7-inch touchscreen display as standard along with the facelifted bumpers and new rim spoke design for the 1.8EL model.


title: Honda Civic (tenth generation)

text: The tenth-generation Civic was launched in the Indian market in March 2019 after facelift. It was locally assembled at Honda India's plant in Greater Noida. It is available with the 1.8-litre i-VTEC petrol paired to the CVT and the 1.6L i-DTEC turbo-diesel paired to the 6-speed manual gearbox. It was discontinued in December 2020 following the company's decision to cease manufacturing operations at its Greater Noida plant.


title: Honda Civic (tenth generation)

text: Honda Atlas revealed the model for Pakistan on July 22, 2016. At the time of launch, three variants were offered: i-VTEC, i-VTEC Oriel and VTEC Turbo. i-VTEC and i-VTEC Oriel trims come with 1.8-liter engine with CVT, while the VTEC Turbo has a 1.5-liter turbocharged engine with a 7-speed sequential CVT. Due to engine knock issues, the 1.5-litre turbocharged variant was discontinued for an unknown period of time in March 2017. Later on April 9, 2019, the Civic 1.5-liter turbocharged was relaunched with a few changes, along with the other two variants (i-VTEC, i-VTEC Oriel), the VTEC Turbo was launched as an RS variant with few cosmetic changes. Later Honda Atlas also launched another trim (VTEC Turbo Oriel) which used the 1.5-liter turbocharged engine with a few downgrades and a lower price to match.


title: Mike Piazza

text: Michael Joseph Piazza ( ; born September 4, 1968) is an American former professional baseball catcher who played 16 seasons in Major League Baseball (MLB), from 1992 to 2007. He currently serves as the manager of the Italian national baseball team. He played most notably for the New York Mets and Los Angeles Dodgers, while also having brief stints with the Florida Marlins, San Diego Padres, and Oakland Athletics. A 12-time All-Star and 10-time Silver Slugger Award winner at catcher, Piazza produced strong offensive numbers at his position; in his career, he recorded 427 home runs—a record 396 of which were hit as catcher—along with a .308 batting average and 1,335 runs batted in (RBI).


title: Mike Piazza

text: Piazza was drafted by the Dodgers in the 1988 MLB draft as a favor from Tommy Lasorda to Piazza's father. He was the last player selected and signed in his draft class to play in the Major Leagues. Initially a first baseman, Piazza converted to catcher in the minor leagues at Lasorda's suggestion to improve his chances of being promoted. He made his major league debut in 1992 and the following year was named the National League (NL) Rookie of the Year and was an All-Star for the first of 10 consecutive seasons. Piazza immediately impressed with his ability to hit for power and average. His best year as a Dodger came in 1997 when he batted .362, hit 40 home runs, and had 124 RBI, leading to a runner-up finish in voting for the NL Most Valuable Player Award. In 1998, he was traded to the Marlins and then a week later to the Mets, with whom he spent most of the remainder of his career. He helped the Mets reach the 2000 World Series, the only World Series appearance of his career. After the 2005 season, Piazza left the Mets to play one season each for the Padres and Athletics before retiring after the 2007 season.


title: Mike Piazza

text: Piazza is regarded as one of the best offensive catchers in baseball history. He had at least one RBI in 15 straight games for the Mets in 2000, the second-longest RBI streak ever. In 2013, the Mets inducted Piazza into the New York Mets Hall of Fame. In 2016, Piazza was elected to the Baseball Hall of Fame, receiving 82.95% of the vote.


title: Mike Piazza

text: Piazza owned the Italian soccer team A.C. Reggiana 1919, which played for two seasons (2017–2018) in Serie C under his leadership before its non-registration due to continued financial troubles.


title: Mike Piazza

text: Piazza, was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is the second-oldest son of an Italian father named Vince (1932–2021) and a Slovak-Jewish mother named Veronica, with brothers Vince Jr., Dan, Tony, and Tom. His father was the son of Italian immigrants from Sciacca, Sicily. Tom's godfather was former MLB manager Tommy Lasorda. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame third baseman Mike Schmidt.


title: Mike Piazza

text: Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase an MLB franchise. When the Dodgers—managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy—visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.


title: Mike Piazza

text: Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 16, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' "The Science of Hitting". Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve.


title: Mike Piazza

text: Piazza graduated from Phoenixville Area High School in 1986, after which he went to South Florida and joined the Miami Hurricanes his freshman year; receiving no playing time that season, Piazza transferred to Miami-Dade Community College.


title: Mike Piazza

text: After his father asked Lasorda to select Piazza as a favor, the Miami-Dade Community College student was drafted by the Dodgers in the 62nd round of the 1988 MLB amateur draft as the 1,390th player picked overall. Lasorda asked Piazza to give up his first base position and learn how to catch to improve his chances of reaching the major leagues, and helped him attend a special training camp for catchers in the Dominican Republic. Piazza became an excellent hitter, especially for a catcher. His MLB debut came with the Dodgers on September 1, 1992, against the Chicago Cubs. He drew a walk in his first plate appearance and then doubled to deep center field in his first official at-bat, against Mike Harkey of the Cubs. He hit his first home run on September 12, 1992, against Steve Reed of the San Francisco Giants. He only appeared in 21 games that season, hitting .232.


title: Mike Piazza

text: Piazza won the NL Rookie of the Year Award in 1993 after appearing in 149 games, hitting .318, slugging 35 home runs, and driving in 112 RBI. He was also selected to the 1993 Major League Baseball All-Star Game, his first of 10 consecutive (and 12 total) All-Star appearances. Until Joc Pederson passed him in 2015, Piazza's 18 home runs before the All-Star break was a Dodgers' rookie record.


title: Mike Piazza

text: In 1996, Piazza hit .336 with 36 home runs and 105 RBI, finishing second in NL MVP voting, behind Ken Caminiti.


title: Mike Piazza

text: Piazza's best season with the Dodgers was 1997, when he hit .362, with 40 home runs, 124 RBI, an on-base percentage of .431, and a slugging percentage of .638. He finished second in NL MVP voting for the second straight year, behind Larry Walker.


title: Mike Piazza

text: Piazza played seven seasons for the Dodgers until he was traded to the Florida Marlins on May 15, 1998, after an offseason in which Piazza wanted a new contract before being eligible for arbitration; he wanted $105 million for seven years while the Dodgers offered six years for $76 million. Piazza blasted the Dodgers when his demands were criticized by fans and the media, blaming Vin Scully in particular. Piazza and Todd Zeile went to the Marlins in return for Gary Sheffield, Charles Johnson, Bobby Bonilla, Manuel Barrios, and Jim Eisenreich. He only appeared in five games with the Marlins, where he hit .278.


title: Mike Piazza

text: One week later, on May 22, Piazza was traded from the Marlins to the New York Mets for Preston Wilson, Ed Yarnall, and Geoff Goetz. Despite an excellent performance from Piazza, the Mets missed the 1998 postseason by one game. Piazza helped the Mets to two consecutive playoff appearances in 1999 and 2000. In the former season, Piazza tied his career highs of 40 home runs and 124 RBIs. He also set the record for most home runs in a season without ever hitting more than one in a game, passing a mark previously set by Rogers Hornsby in 1929.


title: Mike Piazza

text: The following year, Piazza led the Mets to an NL pennant and a World Series appearance in the 2000 Subway Series. Of note, all five games were decided by two runs or fewer, something that had not occurred in a World Series in almost 70 years. He became known as the Monster after coach John Stearns was caught on tape during the 2000 National League Championship Series after a Piazza hit saying "The Monster is out of the Cage".