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  1. Le massacre de la Saint-Barthélemy constitue l’apogée de la violence religieuse au XVI e siècle. Suite à l’attentat contre l’amiral de Coligny advenu le 22 août 1572 (dont le responsable est certainement un homme à la solde des Guise, Maurevert), un massacre des principaux chefs protestants (réunis à Paris à l’occasion des noces du jeune Henri de Navarre avec Marguerite, la ...

  2. François Du Bois (n. en La Charite-Sur-Loire en Burgundia, Francia) es un compositor, virtuoso de la marimba, así como profesor, escritor y autor. Debut musical [ editar ] Comenzó sus estudios musicales a los 8 años, y su llamado a los 17.

  3. François Dubois (1790–1871) was a French neoclassical painter. He made several large oil paintings on historical subjects such as l' Érection de l'obélisque de Louqsor sur la place de la Concorde ("The erection of the Luxor obelisk on the place de la Concorde ", on view at the Musée Carnavalet in Paris) and mythological subjects such as ...

  4. Email: fdb2@leicester.ac.uk. Profile. Research. Publications. Supervision. Teaching. Press and media. I joined the University of Leicester in July 2012 having previously held appointments at the Universities of Nottingham (2007-2012) and Cape Town (1995-2005) as well as at SOAS (1991-1995). I was Head of Leicester Law School between Sept 2014 ...

  5. François DUBOIS, Professor | Cited by 1,987 | of Conservatoire National des Arts et Métiers, Paris (CNAM) | Read 157 publications | Contact François DUBOIS

  6. 2009-2010. 2009 and 2010 marked a turning point in the champagne business. With the environment and sustainable development in mind, it began making champagne from organically-farmed grapes. The directors took over the Maison Jeeper winery. Nicolas Dubois fell in love with the winery and worked with the founder’s son to keep the brand and its ...

  7. Dominique Radrizzani, « Les protestants et les coiffeurs. De Simon Goulart à Christian Boltanski », in Ralf Beil (dir.), Le monde selon François Dubois, peintre de la Saint-Barthélemy, Les Cahiers du Musée des Beaux-Arts de Lausanne n°13, 2004, p. 20-29, n° 42.