That it is the fons et origo of American conservatism, as Will sees it, renders the tradition effectively oxymoronic.
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De Norsemen Kclub of Nigeria is a Nigerian confraternity, founded at University of Port Harcourt, Rivers State, Nigeria by students with the nicknames of "Risenangel De Chamelus" "Fons et Origo", "Captain Trupence Njamena" and "Eric the Red". The group was founded in 1985 and registered with the Corporate Affairs Commission of Nigeria as a social charity.
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The Pollard family had originated at the manor of Way in the parish of St Giles in the Wood, near Great Torrington, Devon, called by Hoskins (1954) "the fons et origo of the mighty tribe of Pollard".Hoskins, p.470 The present house is a grade II listed building. Sir Lewis Pollard (died 1526) later moved to King's Nympton where he purchased the manor which remained the seat of his descendants, the Pollard baronets, until it was sold by Sir Hugh Pollard, 2nd Baronet (1603–1666).
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The Cardinal Bishop of Ostia in the meanwhile goes to the Silver Door where the Empress is waiting and on meeting her says the prayer, "Almighty, eternal God, fount and source of goodness"Omnipotens aeterne Deus, fons et origo bonitatis. and then leads her to the Altar of St. Gregory to await the Pope's procession. The Pope proceeds to the Confession of St. Peter and beginning the Mass. After the Kyrie, while the Emperor and Empress lie prostrate before the Confession, the Archdeacon sings the Litany of the Saints.
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It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Sylvester (2000), 257 Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position.
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Like some other rugby playing nations, the popularity of the game in Georgia can be traced back to a pre-existing Georgian folk sport, called lelo or Lelo Burti (meaning literally in Georgian "Field Ball"), which is a full contact ball game, and very similar to rugby.Richards Chapter 1 Fons et Origo, p27; Chapter 15 Going Forward, p291 In fact, even within Georgian rugby terminology, the word lelo is used to mean a try. Lelo was played in Georgia from ancient times and is still played on occasions in rural areas. A field ("Lelo") was selected between two river creeks which represented a playing ground.
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Before Chanel introduced Vamp, dark, non- traditional polish colors were shunned by mainstream cosmetics companies and their customers. Vamp was responsible for setting "in motion a widespread trend that made nail polish in virtually any color acceptable." According to Melinda Davis, the "extraordinary phenomenon of Vamp" was the fons et origo of a late twentieth century trend of "[a]n entire generation of wily, sexy women ... using a new category of 'black widow spider' cosmetics to express their sexual power." Chanel's introduction of Vamp has been credited with inspiring the foundation of a number of edgy new cosmetics lines in the late twentieth century, including Urban Decay and Hard Candy.
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The family of Pollard inherited (or purchased) the manor of Way, which became their fons et origo,"Source and origin", per Hoskins, W.G., A New Survey of England: Devon, London, 1959 (first published 1954), p.470 and according to Prince, (died 1723) adopted these "de Way"/Davie arms which thenceforth they used either alone or quartered by their own arms of Argent, a chevron sable between three escallops gules.Prince, John, (1643–1723) The Worthies of Devon, 1810 edition, p.783 The Pollard family inherited the manor of Horwood from the Cornu family and these de Way/Pollard mullet arms are visible on their own on several 17th-century Pollard monuments in Horwood Church.
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Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin." The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths. Taken together, these are seen as defining characteristics of early Renaissance music, and both Le Franc's and Tinctoris's comments suggest that many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century.
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