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The Brama Młyńska in Stargard Szczeciński one of a few water gates in Europe

Roshnai Gate from Hazuri Bagh (Lahore)

Bab al Yemen of Sana'a, Yemen

The entrance to the urban sector of Machu Picchu. Clues of a gate still remains in the structure

Hahnentor at Rudolfplatz, Cologne, Germany

The second military gate in the Theodosian walls of Istanbul

The Ishtar Gate in the Pergamon Museum in Berlin

Zijlpoort (Eastern gate) in Leiden

"City Gate" redirects here. For the Israeli skyscraper, see Moshe Aviv Tower.

A city gate is a gate which is, or was, set within a city wall. Other terms include port.

Uses[link]

City gates were traditionally built to provide a point of controlled access to and departure from a walled city for people, vehicles, goods and animals. Depending on their historical context they filled functions relating to defense, security, health, trade, taxation, and representation, and were correspondingly staffed by military or municipal authorities. The city gate was also commonly used to display diverse kinds of public information such as announcements, tax and toll schedules, standards of local measures, and legal texts. It could be heavily fortified, ornamented with heraldic shields, sculpture or inscriptions, or used as a location for warning or intimidation, for example by displaying the heads of beheaded criminals or public enemies.

City gates, in one form or another, can be found across the world in cities dating back to ancient times to around the 19th century. Many cities would close their gates after a certain curfew each night, for example Prague.

With increased stability and freedom, many walled cities removed such fortifications as city gates, although many still survive; albeit for historic interest rather than security. Many surviving gates have been heavily restored, rebuilt or new ones created to add to the appearance of a city, such as Bab Bou Jalous in Fes. With increased levels of traffic, city gates have come under threat in the past for impeding the flow of traffic, such as Temple Bar in London which was demolished in the 18th century.

Examples[link]

Ancient World[link]

• Mesopotamia: Ishtar Gate, Babylon

Africa[link]

• Egypt: Gates of Cairo
• Morocco: Bab Agnaou of Marrakech

Asia[link]

• China: Gate of China in Nanjing
• China: city gate of Jianshui
• India: Gateway of India in Mumbai (Maharashtra)
• Israel: Gates in Jerusalem's Old City Walls
• Japan: Rashomon Gate, Kyoto
• Macau: Portas do Cerco - border gate for Macau with neighbouring Zhuhai
• Pakistan: Walled City of Lahore
• South Korea: Seoul's city gates, including: Namdaemun and Dongdaemun
• Taiwan: North gate of Taipei
• Yemen: Bab al Yemen of Sana'a

Europe[link]

• Belgium: the remaining city gates of Bruges: Kruispoort, Gentpoort, Smedepoort, Ezelpoort
• Belgium: Brusselpoort: in Mechelen
• Belgium: Waterpoort in Antwerp
• Croatia: Pile Gate, Dubrovnik
• Czech Republic: Powder Gate, in Prague
• England: London's Roman and Medieval gates of the London Wall: Ludgate, Newgate, Aldersgate, Bishopsgate, Cripplegate, Moorgate, Aldgate
• England: Westgate, Canterbury
• England: The gates (known as Bars) of the York city walls
• France: Porte de Joigny and Porte de Sens in Villeneuve-sur-Yonne
• France: Porte de la Craffe in Nancy
• France: Porte des Allemands in Metz
• France: Porte Saint-Denis and Porte Saint-Martin in Paris
• France: Porte Cailhau in Bordeaux
• Germany: Eigelsteintor, Hahnentor, Ulrepforte, Severinstor in Cologne
• Germany: Holstentor, in Lübeck
• Germany: Porta Nigra, in Trier
• Germany: Old Gate, in Speyer
• Germany: Steintor, in Rostock
• Germany: Martinstor (Saint Martin's Gate) and Schwabentor in Freiburg im Breisgau
• Germany: East Gate, in Regensburg
• Greece: Lion Gate in Mycenae, 13th century B.C..
• Italy: Porta Capuana, Naples
• Malta: City Gate, Valletta
• Netherlands: Amsterdamse Poort, a city gate of Haarlem
• Netherlands: Waterpoort (water gate), Sneek
• Netherlands: Vischpoort (fish gate), Elburg
• Netherlands: Koppelpoort (combination gate), Amersfoort
• Poland: Brama Portowa (Port Gate), Szczecin
• Poland: Brama Młyńska (Mill Gate), Stargard Szczeciński
• Poland: St. Florian's Gate, Kraków
• Poland: Żuraw (Crane Gate), Gdańsk
• Portugal: Arco da Porta Nova, Braga
• Portugal: Portas da Cidade, Ponta Delgada (Azores)
• Russia: Golden Gate, Vladimir
• Spain: Puerta del Sol, Madrid
• Switzerland: The gates of the Basel City Walls, Basel
• Turkey: The many gates in the walls of Constantinople, present day Istanbul
• Ukraine: Golden Gate, Kiev
• Wales: Chepstow Town Gate

North America[link]

• City Gate (Port of Spain), Port of Spain, Trinidad and Tobago
• Porte St-Louis (Vieux-Quebec) and Porte St-Jean (Vieux-Quebec), Quebec City, Quebec, Canada

South America[link]

• Peru : Machu Picchu's gate

See also[link]

• Triumphal arch

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Armando Anthony "Chick" Corea (born June 12, 1941)^[2] is an American jazz pianist, keyboardist, and composer.

Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.^[2] Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.^[3]

His career has been driven by his will to operate as a free agent and compulsively explore different avenues of music making. This hunger has positioned him as an important catalyst in the world of serious, mainstream acoustic jazz, and he is one of the most influential and widely studied figures in the last 40 years.^[4]

Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy,^[5] and is a Scientologist.^[6]

Life and career[link]

Youth[link]

Armando Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.^[7] His father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for the Knights of St. Rose, a drum and bugle corps based in Chelsea.

Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club.

He eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.

Early career[link]

Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.)

His first album as a leader was Tones for Joan's Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums and Miroslav Vitouš on bass.^[2]

He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).^[2]

Avant garde period[link]

Chick Corea, 2007

From 1968 to 1971 Corea had associations with avant garde players and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell's Song of the Wind album on CTI Records.

In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way, and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland, and Jack DeJohnette combined elements of free jazz improvisation and rock music.^{[citation needed]} Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano.

In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.^[2]

Holland and Corea left to form their own group, Circle, active in 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972 Corea struck out on his own.

The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.^[8]

Jazz fusion[link]

Bobby McFerrin and Chick Corea, New Orleans Jazz and Heritage Festival in 2008

In the early 1970s Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums. Corea's compositions for this group often had a Brazilian tinge. In 1972 Corea played many of the early Return to Forever songs in a group he put together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name.

Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977 named "Romantic Warrior". Thereafter, Corea focused on solo projects.^[2]

Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album Play. Corea usually performs "Spain" with a prelude based on Joaquín Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".

In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electric violinist Jean-Luc Ponty.The record was somewhat misunderstood at the time but it is considered nowadays as a true example of Corea's ability to write fussion material. The album combined jazz, flamenco, supported by plenty of mini- moog backup and a powerful horn section.

The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Corea's influence in the genre.

Duet projects[link]

In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.

Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók.

In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.^[9] Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."^[10]

In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.^[11]

Later work[link]

Corea performs with Béla Fleck, March 1, 2008

Corea's other bands include the Elektric Band, the Akoustic Band, and Origin.

The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker.

In 1992 Corea started his own label, Stretch Records.^[2]

In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album Past, Present & Futures. The 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals.

He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums.

Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto – and an adaptation of his signature piece, Spain, for a full symphony orchestra – and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1 was specifically written for the Orion String Quartet and performed by them on 2004's Summerfest.

Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.

In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications.^[12] Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.

A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin, began a world tour in October 2008. Corea had previously worked with McLaughlin in Miles Davis' late 1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.

Scientology[link]

Corea says that Scientology has helped deepen his relationships with others, and helped him find a renewed path.^[3] Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."^[6]

Corea said that Scientology became a profound influence on his musical direction in the early 1970s:

I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people.^[13]

Due to Corea's religious affiliation, he was banned from performing in a concert to be held in Stuttgart, Germany, on August 15, 1993.^[14] Members of the U.S. Congress sent letters to the German government concerning a violation of basic human rights that are upheld by the German Constitution. The ban was not upheld, and in later years Corea performed in festivals in Germany, including several times at the government-supported International Jazz Festival in Burghausen where he was awarded a plaque in Burghausen's "Street of Fame" in 2011.^[15]

In 1998, Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, D.C., to honor 11 human rights activists.^[16]

Discography[link]

Awards[link]

Over the years, he has been nominated for 51 Grammy Awards out of which he has won 18:

Corea has also won two Latin Grammy Awards.

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.

In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).^[17]

See also[link]

	Biography portal
	Jazz portal
	Scientology portal

Wikiquote has a collection of quotations related to: Chick Corea

• Analog synthesizer

References[link]

External links[link]

• Official site
• Official discography
• Jazzreview.com biography
• Verve Records Archived October 13, 2007 at the Wayback Machine
• An Interview with Chick Corea by Bob Rosenbaum, July 1974 (PDF file) "You put these notes together and you come out with that sound, and isn't it beautiful. So what? What does it do to another person? What does it do to your neighborhood?"
• Chick Corea talks to Michael J Stewart about his Piano Concerto

Monsieur Pierre, or simply Pierre, was the professional name of Pierre Jean Phillipe Zurcher-Margolle, (born Toulon, France – London, 1963).^[1] Pierre was a professional dancer and dance teacher: he was primarily responsible for introducing the Latin American dances to England, and for codifying them, and laying the groundwork for their use in competitions and in social dance. The system he and his colleagues developed became the basis for all Latin and American competitions held under the World Dance Council (WDC).

Early life[link]

As a young man, Pierre's engineering studies at Zurich University were abruptly halted when he was struck in the eye by a tennis ball. This accident resulted in the loss of sight in that eye. After this accident he went to live in Paris where his spare time was spent in the night clubs where Cuban and other Latin immigrants enjoyed their music and dances. Pierre next worked in the French consular service in Liverpool, but was forced to resign when the eye strain began to affect the sighted eye. He moved to London, where he enjoyed ice skating and dancing. After World War I ended in 1918 he started on a career as a professional ballroom dancer.^[2] Although he spent the rest of his life resident in London, Pierre never gave up his French citizenship.

Latin dance in England[link]

The rhythms which make Latin American dance popular were brought to Britain between the two World Wars. Pierre was already an accomplished dancer and teacher in the English ballroom style. In Latin dances, his repertoire first consisted of the Agentine tango, the Paso doble and the Samba.

"The tango was always his speciality in demonstrations and as a result many teachers were attracted to it and first learnt it from him." ^[2]

"Pierre had been a celebrated exponent and teacher of tango, dancing first with Countess Gioia, then Mme Bayo, followed by Meredyth Owen. He had established a reputation as the leading specialist for all Latin dances." ^[3]

For a number of years Pierre's studio was in or near Regent Street.^[4] Later, Doris Lavelle went to him to learn the tango. He quickly realised her potential and after training she became his next dance partner. They demonstrated as often as three nights a week at London restaurants, ballrooms and night clubs, of which there were many at that time. By the 1930s Pierre had moved more towards the Latin American dances, and in 1934 his full-page trade adverts featured the rumba.^[5] The studio stayed open all through World War II, and was a popular meeting place for the Free French fighters on leave in London.

After the war, the studio was re-established at 15, Greek Street, Soho. A small studio on the top floor with a good maple floor, and a sound system installed by James Arnell, who later became International Latin American dance champion.^[6] Pierre's studio always played authentic music for its LA dance instruction.

The rumba arrives in London[link]

The ballroom rumba is so called despite the music, and the dance, being of a different genre from the authentic Cuban rumba. The rumba danced in America and Europe was, and is, a music of the son type: 'rumba' was a marketing term to cover several terms used by Cubans; salsa is a comparable case today.^[7] The Peanut Vendor started the rumba craze in Europe and America in 1931. In 1932 Monsieur and Madame Chapoul, well known French demonstrators, gave an exhibition of rumba at the Café de Paris in London, followed by Don Azpiazú and his band, the very group who had had such a hit with their recording of Peanut Vendor. Pierre was present and later went to the Cabine Cubaine club in Paris to take a look at the dancers.^[8]

Originally, Pierre had visited Paris to find out how their dancers and teachers dealt with the rumba. He discovered they used a system devised in the USA, the square rumba, so called after its basic figure. By 1934 he was featuring the rumba in his demonstrations, his adverts, his classes and in magazine articles.^[9] But after the war, in 1947, Pierre visited Cuba, where he discovered to his surprise that the Cubans danced it differently. When he danced with Suzy of Pepe and Suzy Rivera, the then Cuban champions, according to Lavelle's diary,^[10] the first thing she said was "you are out of time". So he had a lesson every day and danced at the acadamias every night. After this period of study he returned to London determined to replace the square rumba with the Cuban rumba, sistema cubano.^[11] To this end, Pierre wrote the first account of his ideas on the rumba as a dance.^[12][13]

One of the characteristics of Cuban dance to the son, and other similar rhythms, was, and still is, their method of taking three steps to four beats of music (whether 2/4 or 4/4). Whereas the Square rumba had been danced on beat 1, the Cuban rumba figure starts on beat 2, counting (pause) 2, 3, 4-1 as (pause) quick, quick, slow with the hip settling over the standing foot on 4-1. All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast salsa, it is more pronounced in the slow ballroom rumba.^[14] In general, steps are kept compact and the dance is without any rise and fall. The argument in favour of this method was authenticity, and also satisfaction at the dance effect the Cuban style achieved. The debate over the change of style continued for eight years before a solution was achieved.

The Latin and American section of the Imperial Society of Teachers of Dancing (ISTD) Ballroom Branch was formed in 1947 by Monsieur Pierre as Chairman, his partner Doris Lavelle, and colleague, Doris Nichols. They were the first examiners, soon joined by Gwenethe Walshe and Dimitri Petrides. This small band of specialists worked to establish an examination system and syllabus for both amateur and professional dancers. Sidney Francis, Walter Laird, Elizabeth Romain and Peggy Spencer were other important members, added a few years later. The syllabus finally agreed in 1955 has been the foundation of teaching and competition in the Latin American dances ever since. This work naturally included the samba, paso doble and jive as well, but it was the composition of the rumba which was critical. After further visits to Cuba in the early 1950s, when Doris Lavelle and James Arnell accompanied Pierre, the cha cha cha was added to make the five Latin American dances that are still the basis of teaching and competition today in the international dance community.^[13]

On Pierre's death in 1963, his colleague Doris Nichols commented: "The Latin American dancing world was so influenced, fostered and built up by him that the names of 'Pierre' and 'Latin American' became virtually synonymous." ^[15]

• Pierre was a Fellow, Examiner and committee member of the Imperial Society of Teachers of Dancing (ISTD) and a Member of the Official Board of Ballroom Dancing (OBBD).
• Pierre 1948. Latin & American dances for students and teachers. London.

Notes[link]

Pierre Dubois (Normandy, c. 1255 – after. 1321), French publicist in the reign of Philip the Fair, was the author of a series of political pamphlets embodying original and daring views.

He was known to Jean du Tillet in the 16th, and to Pierre Dupuy in the 17th century, but remained practically forgotten until the middle of the 19th century, when his history was reconstructed from his works. He was a Norman by birth, probably a native of Coutances, where he exercised the functions of royal advocate of the bailliage and procurator of the university.

He was educated at the University of Paris, where he heard St. Thomas Aquinas and Siger of Brabant. He was, nevertheless, no adherent of the scholastic philosophy, and appears to have been conversant with the works of Roger Bacon. Although he never held any important political office, he must have been in the confidence of the court when, in 1300, he wrote his anonymous Summaria, brevis et compendiosa doctrina felicis expeditionis et abbreviationis guerrarum et litium regni Francorum, which is extant in a unique manuscript, and is analysed by Natalis de Wailly in the Bibliothèque de l'École des Chartes (2nd series, vol. iii).

In the contest between Philip the Fair and Pope Boniface VIII Dubois identified himself completely with the secularizing policy of Philip, and poured forth a series of anti-clerical pamphlets, which did not cease even with the death of Boniface. His Supplication du peuple de France au roy contre le pape Boniface le Ville, printed in 1614 in Acta inter Bonifacium VIII. et Philippum Pulchrum, dates from 1304, and is a heated indictment of the temporal power.

He represented Coutances in the states-general of 1302, but in 1306 he was serving Edward I as an advocate in Guienne, without apparently abandoning his Norman practice by which he had become a rich man. The most important of his works, his treatise De recuperatione terrae sanctae, was written in 1306, and dedicated in its extant form to Edward I, though it is certainly addressed to Philip.

Dubois outlines the conditions necessary to a successful crusade--the establishment and enforcement of a state of peace among the Christian nations of the West by a council of the church; the reform of the monastic, and especially of the military, orders; the reduction of their revenues; the instruction of a number of young men and women in oriental languages and the natural sciences with a view to the government of Eastern peoples; and the establishment of Charles of Valois as emperor of the East. The king of France was in fact, when once the pope was deprived of the temporal power, to become the suzerain of the Western nations, and in a later and separate memoir Dubois proposed that he should cause himself to be made emperor by Pope Clement V.

His zeal for the crusade was probably subordinate to the desire to secure the wealth of the monastic orders for the royal treasury, and to transfer the ecclesiastical jurisdiction to the crown. His ideas on education, on the celibacy of the clergy, and his schemes for the codification of French law, were far in advance of his time. He was an early and violent "Gallican," and the first of the great French lawyers who occupied themselves with high politics.

In 1308 he attended the states-general at Tours. He is generally credited with Quaedam proposita papae a rege super facto Templariorum, a draft epistle supposed to be addressed to Clement by Philip. This was followed by other pamphlets in the same tone, in one of which he proposed that a kingdom founded on the property of the Templars in the East should be established on behalf of Philip the Tall.

References[link]

• Article by Ernest Renan in Hist. lat. de la France, vol. xxvi pp. 471-536
• Pierre Dupuy Histoire de la condamnation ... des Templiers (Brussels, 1713), and Histoire du différend entre le pape Boniface VIII et Philippe le Bel (Paris 1655); and Notices et extraits de manuscrits, vol. xx
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Bogumil Terminski, The evolution of the concept of perpetual peace in the history of political-legal thought", Perspectivas Internacionales, vol. X, pp. 277-290.
• Asimov, Isaac, The Shaping of France, Boston, Houghton Mifflin, 1972, p. 122 also mentions that the 1306 work advocated a European league of nations led by France, in which disputes would be settled by arbitration rather than war, universal education, and church property to be "secularized," which can be taken to mean seized.