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Authors: Mandy Aftel
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INTRODUCTION
CHAPTER I. THE SPIRIT OF THE ALCHEMIST: A NATURAL HISTORY OF PERFUME
3
The alchemical symbol
means “coagulate.”
means “coagulate.”4
“Odor, oftener”:
Roy Bedichek,
The Sense of Smell
(London: Michael Joseph, 1960), p. 218.
Roy Bedichek,
The Sense of Smell
(London: Michael Joseph, 1960), p. 218.
5
“We are often”:
Constance Classen,
The Color of Angels
(London: Routledge, 1998), pp. 152â53.
Constance Classen,
The Color of Angels
(London: Routledge, 1998), pp. 152â53.
6
“who lived, completely naked”:
Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980), p. 23.
Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980), p. 23.
7
Umeda hunters:
Constance Classen, David Howes, and Anthony Synnott,
Aroma
(London: Routledge, 1994), p. 7.
Constance Classen, David Howes, and Anthony Synnott,
Aroma
(London: Routledge, 1994), p. 7.
8
The Berbers of Morocco:
Gabrielle J. Dorland,
Scents Appeal
(Mendham, NJ: Wayne Dorland Company, 1993), p. 187.
Gabrielle J. Dorland,
Scents Appeal
(Mendham, NJ: Wayne Dorland Company, 1993), p. 187.
9
“could recognize an old country house”:
Classen,
The Color of Angels
, pp. 152â53.
Classen,
The Color of Angels
, pp. 152â53.
10
“He would often”:
Patrick Suskind,
Perfume
(London: Penguin, 1986), p. 35.
Patrick Suskind,
Perfume
(London: Penguin, 1986), p. 35.
11
“Our olfactory experiences”:
Havelock Ellis,
Studies in the Psychology of Sex: Sexual Selection in Man
(Philadelphia: F. A. Davis Co., 1905), pp. 54â55.
Havelock Ellis,
Studies in the Psychology of Sex: Sexual Selection in Man
(Philadelphia: F. A. Davis Co., 1905), pp. 54â55.
12
“A scent may drown years”:
Walter Benjamin, “On Some Motifs in Baudelaire,”
Illuminations
(New York: Schocken Books, 1985), p. 184.
Walter Benjamin, “On Some Motifs in Baudelaire,”
Illuminations
(New York: Schocken Books, 1985), p. 184.
13
“When it is said”:
Henri Bergson,
Time and Free Will
(Kila, MT: Kessinger, 1997), p. 9.
Henri Bergson,
Time and Free Will
(Kila, MT: Kessinger, 1997), p. 9.
14
“These memories”:
Henri Bergson,
Creative Evolution,
trans. Arthur Mitchell (New York: Dover, 1998). pp. 7â8.
Henri Bergson,
Creative Evolution,
trans. Arthur Mitchell (New York: Dover, 1998). pp. 7â8.
15
“can readily be understood”:
Classen,
The Color of Angels,
p. 60.
Classen,
The Color of Angels,
p. 60.
16
Roman Empire:
Giuseppe Donato and Monique Seefried,
The Fragrant Past
(Atlanta: Emory University Museum of Art and Archaeology, 1989), p. 55.
Giuseppe Donato and Monique Seefried,
The Fragrant Past
(Atlanta: Emory University Museum of Art and Archaeology, 1989), p. 55.
17
Jung on alchemy:
Carl Jung,
Psychology and Alchemy
(Princeton, NJ: Princeton University Press, 1993), pp. 288-89, 314â16.
Carl Jung,
Psychology and Alchemy
(Princeton, NJ: Princeton University Press, 1993), pp. 288-89, 314â16.
18
“The quinta essentia”:
Paracelsus,
Selected Writings,
ed. Jolande Jacobi: (Princeton, NJ: Princeton University Press, 1988), pp. 145â47.
Paracelsus,
Selected Writings,
ed. Jolande Jacobi: (Princeton, NJ: Princeton University Press, 1988), pp. 145â47.
19
“so loaded with unconscious”:
Carl Jung,
Mysterium Coniunctionis
(Princeton, NJ: Princeton University Press, 1989), p. 114.
Carl Jung,
Mysterium Coniunctionis
(Princeton, NJ: Princeton University Press, 1989), p. 114.
20
“The combination of two bodies”:
F. Sherwood Taylor,
The Alchemists
(New York: Barnes and Noble, 1992), p. 250.
F. Sherwood Taylor,
The Alchemists
(New York: Barnes and Noble, 1992), p. 250.
21
“For the
people of earlier agrs”:
Titus Burckhardt,
Alchemy
(London: Element, 1987), pp. 57â59.
people of earlier agrs”:
Titus Burckhardt,
Alchemy
(London: Element, 1987), pp. 57â59.
22
“All alchemical thinking”:
Nathan Schwartz-Salant,
The Mystery of Human Relationship
(London: Routledge, 1998), p. 16.
Nathan Schwartz-Salant,
The Mystery of Human Relationship
(London: Routledge, 1998), p. 16.
23
René the perfumer:
C.J.S. Thompson,
The Mystery and Lure of Perfume
(Philadelphia: J. B. Lippincott, 1927), p. 102.
C.J.S. Thompson,
The Mystery and Lure of Perfume
(Philadelphia: J. B. Lippincott, 1927), p. 102.
24
Charles Lillie:
Charles Lillie,
The British Perfumer
(London: W. Seaman, 1822), pp. xâxii.
Charles Lillie,
The British Perfumer
(London: W. Seaman, 1822), pp. xâxii.
25
“the truly artistic part”:
Eugene Rimmel,
The Book of Perfumes
(London: Chapman and Hall, 1865), p. 236.
Eugene Rimmel,
The Book of Perfumes
(London: Chapman and Hall, 1865), p. 236.
26
“It may be useful”:
Arnold J. Cooley,
Instructions and Cautions Respecting the Selection and Use of Perfumes, Cosmetics, and Other Toilet Articles
(Philadelphia: J. B. Lippincott, 1873), p. 555.
Arnold J. Cooley,
Instructions and Cautions Respecting the Selection and Use of Perfumes, Cosmetics, and Other Toilet Articles
(Philadelphia: J. B. Lippincott, 1873), p. 555.
27
“As a child”:
Peter Altenberg,
The Vienna Coffeehouse Wits, 1890-1938
, ed. Harold B. Segel (West Lafayette, IN: Purdue University Press, 1993), p. 136.
Peter Altenberg,
The Vienna Coffeehouse Wits, 1890-1938
, ed. Harold B. Segel (West Lafayette, IN: Purdue University Press, 1993), p. 136.
28
“Modern perfume”:
J. Stephan Jellinek, “The Birth of a Modern Perfume,”
Dragoco Report,
March 1998, p. 13.
J. Stephan Jellinek, “The Birth of a Modern Perfume,”
Dragoco Report,
March 1998, p. 13.
29
“It was, for the first time”:
J. Stephan Jellinek, “Scents and Society: Observations on Women's Perfumes, 1880,”
Dragoco Report
, March 1997, p. 90.
J. Stephan Jellinek, “Scents and Society: Observations on Women's Perfumes, 1880,”
Dragoco Report
, March 1997, p. 90.
30
“Artificial perfurmes obviously present”:
J. P. Durvelle,
The Preparation of Perfumes and Cosmetics
(London: Scott, Greenwood and Son, 1923), p. 112.
J. P. Durvelle,
The Preparation of Perfumes and Cosmetics
(London: Scott, Greenwood and Son, 1923), p. 112.
31
The shift can be
traced: Schimmel Reports,
1895, 1898, 1901, 1902.
traced: Schimmel Reports,
1895, 1898, 1901, 1902.
32
“Our experience”: Schimmel Report,
1898.
1898.
33
On Coty:
Elisabeth Barille,
Coty
(Paris: Editions Assouline, 1995), p. 112; J. Stephan Jellinek, “The Birth of a Modern Perfume.”
Elisabeth Barille,
Coty
(Paris: Editions Assouline, 1995), p. 112; J. Stephan Jellinek, “The Birth of a Modern Perfume.”
34
On Paul Poiret and Ahmed Soliman:
Ken Leach,
Perfume Presentation
(Toronto: Kres Publishing, 1997), p. 92.
Ken Leach,
Perfume Presentation
(Toronto: Kres Publishing, 1997), p. 92.
35
“The more we penetrate”:
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art, Science, and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 45.
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art, Science, and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 45.
36
“Magic has power”:
Paracelsus,
Selected Writings,
p. 137.
Paracelsus,
Selected Writings,
p. 137.
37
“Philosophers agree”:
Henri Bergson,
Introduction to Metaphysics
(Kila, MT: Kessinger, 1998), p. 159.
Henri Bergson,
Introduction to Metaphysics
(Kila, MT: Kessinger, 1998), p. 159.
38
“subtle bodies”:
Carl Jung,
Jung on Alchemy
, ed. Nathan Schwartz-Salant (London: Routledge, 1998), p. 148.
Carl Jung,
Jung on Alchemy
, ed. Nathan Schwartz-Salant (London: Routledge, 1998), p. 148.
39
“The alchemist is an educator”:
Gaston Bachelard,
The Poetics of Reverie
(Boston: Beacon, 1971), p. 76.
Gaston Bachelard,
The Poetics of Reverie
(Boston: Beacon, 1971), p. 76.
40
“The alchemist is described”:
Cherry Gilchrist,
The Elements of Alchemy
(London: Element, 1991), pp. 7â8.
Cherry Gilchrist,
The Elements of Alchemy
(London: Element, 1991), pp. 7â8.
41
“the object of art”:
Bergson,
Time and Free Will,
p. 14.
Bergson,
Time and Free Will,
p. 14.
42
“It is our task”:
Paracelsus,
Selected Writings,
p. III.
Paracelsus,
Selected Writings,
p. III.
CHAPTER 2. PRIMA MATERIA: PERFUME BASICS
43
The alchemical symbol
denotes ethyl alcohol.
denotes ethyl alcohol.44
“In alchemy the prima materia”:
Lyndy Abraham,
A Dictionary of Alchemical Imagery
(Cambridge: Cambridge University Press, 1998), p. 153.
Lyndy Abraham,
A Dictionary of Alchemical Imagery
(Cambridge: Cambridge University Press, 1998), p. 153.
45
“Why natural oils?”:
Robert Tisserand,
The Art of Aromatherapy
(Rochester, VT: Healing Arts Press, 1977), p. 46.
Robert Tisserand,
The Art of Aromatherapy
(Rochester, VT: Healing Arts Press, 1977), p. 46.
46
“If you have taken”:
Marsilio Ficino,
The Book of Life
(Woodstock, CT: Spring Publications, 1996), p. 67.
Marsilio Ficino,
The Book of Life
(Woodstock, CT: Spring Publications, 1996), p. 67.
47
“The souls of these
noblest”:
Patrick Suskind,
Perfume
(London: Penguin, 1986), p. 186.
noblest”:
Patrick Suskind,
Perfume
(London: Penguin, 1986), p. 186.
48
“
Try to determine”:
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes:
Art, Science, and
Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 18.
Try to determine”:
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes:
Art, Science, and
Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 18.
49
Steffen Arctander:
Steffen Arctander,
Perfume and Flavor Materials of Natural Origin
(Elizabeth, NJ: Self-published, 1960), p. 28.
Steffen Arctander,
Perfume and Flavor Materials of Natural Origin
(Elizabeth, NJ: Self-published, 1960), p. 28.
50
Here is a
method:
I have adapted my sampling method from that described
by Tony Curtis and David G. Williams in their
Introduction to Perfumery
(Hertfordshire, England: Ellis Horwood, 1994), p. 520.
method:
I have adapted my sampling method from that described
by Tony Curtis and David G. Williams in their
Introduction to Perfumery
(Hertfordshire, England: Ellis Horwood, 1994), p. 520.
51
“There is no evidence”:
Christine Wildwood,
The Encyclopedia of Aromatherapy
(Rochester, VT: Healing Arts Press, 1996), p. 24.
Christine Wildwood,
The Encyclopedia of Aromatherapy
(Rochester, VT: Healing Arts Press, 1996), p. 24.
CHAPTER 3. THE CALCULUS OF FIXATION: BASE NOTES
52
The alchemical symbol
means “fixed.”
means “fixed.”53
“The perfumer should be totally unprejudited”:
Jean Carles, “A Method of Creation in Perfumery,” in
Perfume,
ed. William I. Kaufman (New York: Dutton and Co., 1974), p. 173.
Jean Carles, “A Method of Creation in Perfumery,” in
Perfume,
ed. William I. Kaufman (New York: Dutton and Co., 1974), p. 173.
54
“The motivated and experienced perfumer”:
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art,
Science,
and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 7.
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art,
Science,
and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), p. 7.
55
“The first phase of the
alchemical process”:
Richard and Iona Miller,
The Modern Alchemist
(Grand Rapids, MI: Phanes Press, 1994), p. 64.
alchemical process”:
Richard and Iona Miller,
The Modern Alchemist
(Grand Rapids, MI: Phanes Press, 1994), p. 64.
56
“It would be ridiculous”:
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report,
January 1976, p. 18.
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report,
January 1976, p. 18.
57
On duration:
Henri Bergson,
Duration and Simultaneity
(Indianapolis: Bobbs-Merrill, 1965), p. 44.
Henri Bergson,
Duration and Simultaneity
(Indianapolis: Bobbs-Merrill, 1965), p. 44.
58
“In our inner life”:
Henri Bergson,
The Creative Mind
(New York: Citadel Press, 1992), p. 32.
Henri Bergson,
The Creative Mind
(New York: Citadel Press, 1992), p. 32.
59
“Our psychic states”:
Bergson,
The Creative Mind,
p. 19.
Bergson,
The Creative Mind,
p. 19.
60
“We speak of change”:
Bergson,
The Creative Mind,
p. 131.
Bergson,
The Creative Mind,
p. 131.
61
On harvesting sandalwood:
Edwin T. Morris,
Fragrance
(Greenwich, CT: E. T. Morris and Co., 1984), p. 98.
Edwin T. Morris,
Fragrance
(Greenwich, CT: E. T. Morris and Co., 1984), p. 98.
62
History of ambergris:
A. Hyatt Verrill,
Perfumes and Spices
(Clinton, MA: L. C. Page, 1940), p. 135.
A. Hyatt Verrill,
Perfumes and Spices
(Clinton, MA: L. C. Page, 1940), p. 135.
63
“It has a particular soft”:
Steffen Arctander,
Perfume and Flavor Materials of Natural Origin
(Elizabeth, NJ: Self-published, 1960), p. 195.
Steffen Arctander,
Perfume and Flavor Materials of Natural Origin
(Elizabeth, NJ: Self-published, 1960), p. 195.
64
Papal bull:
G. W. Septimus Piesse,
The Art of Perfumery
(Philadelphia: Lindsay and Blakiston, 1867), p. 142.
G. W. Septimus Piesse,
The Art of Perfumery
(Philadelphia: Lindsay and Blakiston, 1867), p. 142.
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