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Explore the people, places, events, achievements, struggles and stories that shaped our journey.
Movements, leaders, victories and the continuing fight for equality.
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Meet the people whose lives, choices and achievements shaped the journey.
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Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
A fontange, or frelange, is a high headdress popular during the turn of the late 17th and early 18th centuries in Europe.
Technically, fontanges are only part of the assembly, referring to the decorative ribbon bows, linen, and lace, and the small linen cap beneath[1] which support the frelange.[2] The frelange was supported by a wire framework called a commode.[2] Along with hair being worn in tight curls of hair worn at the top of the head and the frills described, making up the fontange's elaborate decoration were lappets draping the side of the face or back of the wearer's head.[1]
Further, the term "fontange" is also used by some writers to refer to the associated hairstyle or the combination of headdress and hairstyle.[3] The 'fontange coiffure' was a hairstyle where the front of the hair was worn curled and piled high above the forehead in front of the frelange, which was always higher than the hair. Sometimes the hairstyle was supported by a wire framework called a pallisade.[4]
A surviving example of a frelange headdress with fontanges and commode in situ is that worn by the 1690s fashion doll Lady Clapham.[5][6] In England, the style was popularly known as a 'top-knot', versions of which were worn by ladies of all ranks, from the Queen downwards to kitchen maids, making it an easy target for satire and criticism.[5]
The fontange is said to be named for the Duchesse de Fontange, a mistress of King Louis XIV of France. One version of the story is that after losing her cap while hunting with the King, the Marquise tied her hair up using a ribbon in a manner that pleased him, and this was imitated by the other ladies at court, subsequently spreading across Europe.[3] What started out as a simple headdress of folded ribbon in the 1680s became, with additional fabric, lace and trimmings, taller and more complex, increasingly difficult to create and wear.[5][7] Despite its courtly origins, fontanges were forbidden to be worn at French state occasions, although the English court accepted them, with Queen Mary having her portrait painted wearing one.[5][2]
The word fontange was later used to describe the edging and centre ribbon of a corsage, in about 1850.[1]
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
A fontange, or frelange, is a high headdress popular during the turn of the late 17th and early 18th centuries in Europe. Technically, fontanges are only part of the assembly, referring to the decorative ribbon bows, linen, and lace, and the small linen cap beneath which support the frelange. The frelange was supported by a wire framework called a commode. Along with hair being worn in tight curls of hair worn at the top of the head and the frills described, making up the fontange's elaborate decoration were lappets draping the side of the face or back of the wearer's head. Further, the term "fontange" is also used by some writers to refer to the associated hairstyle or the combination of headdress and hairstyle. The 'fontange coiffure' was a hairstyle where the front of the hair was worn curled and piled high above the forehead in front of the frelange, which was always higher than the hair. Sometimes the hairstyle was supported by a wire framework called a pallisade. A surviving example of a frelange headdress with fontanges and commode in situ is that worn by the 1690s fashion doll Lady Clapham. In England, the style was popularly known as a 'top-knot', versions of which were worn by ladies of all ranks, from the Queen downwards to kitchen maids, making it an easy target for satire and criticism. The fontange is said to be named for the Duchesse de Fontange, a mistress of King Louis XIV of France. One version of the story is that after losing her cap while hunting with the King, the Marquise tied her hair up using a ribbon in a manner that pleased him, and this was imitated by the other ladies at court, subsequently spreading across Europe. What started out as a simple headdress of folded ribbon in the 1680s became, with additional fabric, lace and trimmings, taller and more complex, increasingly difficult to create and wear. Despite its courtly origins, fontanges were forbidden to be worn at French state occasions, although the English court accepted them, with Queen Mary having her portrait painted wearing one. The word fontange was later used to describe the edging and centre ribbon of a corsage, in about 1850.
Fontanges (French pronunciation: [fɔ̃tɑ̃ʒ]; Occitan: Fontanjas) is a commune in the Cantal department in south-central France.
Magda Fontanges (10 May 1905 – 1 October 1960), also known as Madeleine Coraboeuf, was a French actress, journalist and a spy for the Germany Secret Service between 1940 and 1943.
Jacques Gallot (or Jacques de Gallot, le vieux Gallot de Paris) (c. 1625 – c. 1695 in Paris, France) was a French lutenist and composer. He came from a Parisian family of lutenists and composers. He was a student of Ennemond Gaultier. In Paris, he published Pièces de luth composées sur différens mode introduced by a brief treatment of the lute. The pieces in this work are organized by tone and include also minuets. Some pieces signed vieux Gallot can be also found in the manuscript Becker II.6.14 in Musikbibliothek Leipzig. His compositions include musical portraits, such as La Fontange, La Montespan and also tombeaux (Turenne, Condé, Madame). He was one of the developers of this musical form. His brother Alexander Gallot (ca. 1625 – 1684) was also a composer and lutenist. A tombeau in his memory was composed by Robert de Visée. One of Gallot's works was transcribed for orchestra by Ottorino Respighi as part of his suite Gli Uccelli.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
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