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Essence and Alchemy (26 page)
CHAPTER 4. AROMATIC STANZAS: HEART NOTES
65
The alchemical symbol
indicates “to distill.”
indicates “to distill.”66
Colette's “Fragrance”:
As quoted in “Colette's Salon” by Robert Reilly,
Vogue,
November 1998, p. 296.
As quoted in “Colette's Salon” by Robert Reilly,
Vogue,
November 1998, p. 296.
67
“It is prerisely”:
Paul Jellinek,
The Psychological Basis of Perfumery
(London: Chapman and Hall, 1997), p. 42.
Paul Jellinek,
The Psychological Basis of Perfumery
(London: Chapman and Hall, 1997), p. 42.
68
“the odor strength”:
Jellinek,
The Psychological Basis of Perfumery,
p. 43.
Jellinek,
The Psychological Basis of Perfumery,
p. 43.
69
“The opulently rounded shapes”:
Jellinek,
The Psychological Basis of Perfumery,
p. 54.
Jellinek,
The Psychological Basis of Perfumery,
p. 54.
70
“The opulently rounded shapes”:
Jellinek,
The Psychological Basis of Perfumery,
p. 54.
Jellinek,
The Psychological Basis of Perfumery,
p. 54.
71
alchemical symbols are susceptible:
Titus Burckhardt,
Alchemy
(Dorset, England: Element Books, 1987), p. 155.
Titus Burckhardt,
Alchemy
(Dorset, England: Element Books, 1987), p. 155.
72
“Graphic images of Coniunctio”:
Mark Haeffner,
Dictionary of Alchemy
(London: Aquarian, 1991), p. 62.
Mark Haeffner,
Dictionary of Alchemy
(London: Aquarian, 1991), p. 62.
73
“the concept of harmonizing”:
Haeffner,
Dictionary of Alchemy,
p. 62.
Haeffner,
Dictionary of Alchemy,
p. 62.
74
“Flotillas of sturdy vessels”:
Ernest Guenther,
The Essential Oils,
vol. 4 (New York: Van Nostrand, 1950), p. 397.
Ernest Guenther,
The Essential Oils,
vol. 4 (New York: Van Nostrand, 1950), p. 397.
75
“clear eye”:
William A. Poucher,
Perfumes and Cosmetics
(London: Chapman and Hall, 1923), p. 127.
William A. Poucher,
Perfumes and Cosmetics
(London: Chapman and Hall, 1923), p. 127.
76
“All is permitted”:
Colette, “Fragrance,” p. 296.
Colette, “Fragrance,” p. 296.
77
“Despite all the crises”:
Marie-Christine Grasse,
Jasmine
(Grasse: Parkstone Publishers, 1996). p. 63.
Marie-Christine Grasse,
Jasmine
(Grasse: Parkstone Publishers, 1996). p. 63.
78
It takes more:
Grasse,
Jasmine,
p. 50.
Grasse,
Jasmine,
p. 50.
CHAPTER 5. THE SUBLIME AND THE VOLATILE: HEAD NOTES
79
The alchemical symbol
means “volatile.”
means “volatile.”80
“the fluid state”:
Gaston Bachelard,
Air and Dreams
(Dallas: Dallas Institute Publications, 1988), p. 4.
Gaston Bachelard,
Air and Dreams
(Dallas: Dallas Institute Publications, 1988), p. 4.
81
“With air”:
Bachelard,
Air and Dreams
, p. 8.
Bachelard,
Air and Dreams
, p. 8.
82
“The absolute absence”:
Milan Kundera,
The Unbearable Lightness of Being
(New York: Harper and Row, 1985), p. 5.
Milan Kundera,
The Unbearable Lightness of Being
(New York: Harper and Row, 1985), p. 5.
83
“Habit”:
Bachelard,
Air and Dreams
, p. 11.
Bachelard,
Air and Dreams
, p. 11.
84
“It is no mere chance”:
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report
, January 1976, p. 27.
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report
, January 1976, p. 27.
CHAPTER 6. AN OCTAVE OF ODORS: THE ART OF COMPOSITION
85
The alchemical symbol
means “quintessence.”
means “quintessence.”86
Colette's “Fragrance”:
As quoted in “Colette's Salon” by Robert Reilly,
Vogue
, November 1998, p. 296.
As quoted in “Colette's Salon” by Robert Reilly,
Vogue
, November 1998, p. 296.
87
National Geographic
issue:
Cathy Newman, “Perfume: The Essence of Illusion,” in
National Geographic,
October 1998, pp. 94â119, later published
as Cathy Newman,
Perfume
(Washington, D.C.: National Geographic Society, 1998).
issue:
Cathy Newman, “Perfume: The Essence of Illusion,” in
National Geographic,
October 1998, pp. 94â119, later published
as Cathy Newman,
Perfume
(Washington, D.C.: National Geographic Society, 1998).
88
“In my early days”:
Jean Carles, “A Method of Creation in Perfumery,” in
Perfume,
ed. William 1. Kaufman (New York: Dutton and Co., 1974), p. 173.
Jean Carles, “A Method of Creation in Perfumery,” in
Perfume,
ed. William 1. Kaufman (New York: Dutton and Co., 1974), p. 173.
89
Maupassant:
Quoted in Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980), p. 42.
Quoted in Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980), p. 42.
90
a long, glorious, and often mystical tradition:
Roland Hunt,
Fragrant and Radiant Symphony
(London: C. W. Daniel and Co., 1938), p. 13.
Roland Hunt,
Fragrant and Radiant Symphony
(London: C. W. Daniel and Co., 1938), p. 13.
91
“Some perfumes are as fragrant”:
Charles Baudelaire, “Correspondences,”
The Flowers of Evil and Paris Spleen,
trans. William H. Crosby (Brockport, NY: BOA Editions, 1991), p. 31.
Charles Baudelaire, “Correspondences,”
The Flowers of Evil and Paris Spleen,
trans. William H. Crosby (Brockport, NY: BOA Editions, 1991), p. 31.
92
“When the composer writes”:
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art, Science, and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), pp. 40, 41.
Edmond Roudnitska, “The Art of Perfumery,” in
Perfumes: Art, Science, and Technology,
ed. P. M. Müller and D. Lamparsky (London: Elsevier, 1991), pp. 40, 41.
93
“Odors that produce”:
Arnold J. Cooley,
Instructions and Precautions Respecting the Selection and Use of Perfumes, Cosmetics and Other Toilet Articles
(Philadelphia: J. B. Lippincott, 1873), p. 556.
Arnold J. Cooley,
Instructions and Precautions Respecting the Selection and Use of Perfumes, Cosmetics and Other Toilet Articles
(Philadelphia: J. B. Lippincott, 1873), p. 556.
94
“The composer will start
thinking
”:
Roudnitska, “The Art of Perfumery,” p. 38.
thinking
”:
Roudnitska, “The Art of Perfumery,” p. 38.
95
“The shape of a
perfume”:
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report,
January 1976, p. 18.
perfume”:
Edmond Roudnitska, “The Shapes of Fragrances,”
Dragoco Report,
January 1976, p. 18.
96
“This form must be considered”:
Roudnitska, “The Art of Perfumery,” p. 8.
Roudnitska, “The Art of Perfumery,” p. 8.
97
“For intuition is no miracle”:
Roudnitska, “The Shapes of Fragrances,” p. 23.
Roudnitska, “The Shapes of Fragrances,” p. 23.
98
Bergson on intuition:
Henri Bergson,
The Creative Mind
(New York: Carol Publishing Group, 1992), pp. 32, 161, 162.
Henri Bergson,
The Creative Mind
(New York: Carol Publishing Group, 1992), pp. 32, 161, 162.
99
arcanum:
Marinus Rulandus,
A Lexicon of Alchemy,
1612 (Reprint, Kila, MT: Kessinger Publications, 1999), p. 36.
Marinus Rulandus,
A Lexicon of Alchemy,
1612 (Reprint, Kila, MT: Kessinger Publications, 1999), p. 36.
100
“In everything that is graceful”:
Bergson,
The Creative Mind
, p. 243.
Bergson,
The Creative Mind
, p. 243.
CHAPTER 7. FLACON DE SEDUCTION: PERFUME AND THE BOUDOIR
101
The alchemical symbol
indicates “mix together.”
indicates “mix together.”102
“Celestial Bed”;
Eric Maple,
The Magic of Perfume
(New York: Samuel Weiser, 1973), p. 49.
Eric Maple,
The Magic of Perfume
(New York: Samuel Weiser, 1973), p. 49.
103
“Death and destruction”:
Roy Bedichek,
The Sense of Smell
(London: Michael Joseph, 1960), p. 184.
Roy Bedichek,
The Sense of Smell
(London: Michael Joseph, 1960), p. 184.
104
“The vegetable world”:
Bedichek,
The Sense of Smell,
p. 180.
Bedichek,
The Sense of Smell,
p. 180.
105
“How strange it was”:
Herman Hesse,
Narcissus and Goldmund
(New York: Bantam, 1971), p. 95.
Herman Hesse,
Narcissus and Goldmund
(New York: Bantam, 1971), p. 95.
106
Iwan Bloch:
Iwan Bloch,
Odoratus Sexualis
(New York: Panurge Press, 1934), p. 229.
Iwan Bloch,
Odoratus Sexualis
(New York: Panurge Press, 1934), p. 229.
107
“The scented profile”:
Alain Corbin,
The Foul and the Fragrant
(Cambridge, MA: Harvard University Press, 1986), p. 205.
Alain Corbin,
The Foul and the Fragrant
(Cambridge, MA: Harvard University Press, 1986), p. 205.
108
Havelock Ellis on body odor:
Havelock Ellis,
Studies in the Psychology of Sex: Sexual Selection in Man
(Philadelphia: F. A. Davis Company, 1905), p. 62.
Havelock Ellis,
Studies in the Psychology of Sex: Sexual Selection in Man
(Philadelphia: F. A. Davis Company, 1905), p. 62.
109
“With the refinements”:
Henry Miller,
Tropic of Capricorn
(New York: Grove Press, 1961), p. 132.
Henry Miller,
Tropic of Capricorn
(New York: Grove Press, 1961), p. 132.
110
“discover some Drug”:
Benjamin Franklin,
On Perfumes
(New York: At the Sign of the Blue-Behinded Ape, 1929), pp. 12â13.
Benjamin Franklin,
On Perfumes
(New York: At the Sign of the Blue-Behinded Ape, 1929), pp. 12â13.
111
“Sexuality
is the totality”:
Paul Jellinek,
The Psychological Basis of Perfumery
(London: Chapman and Hall, 1997), p. 9.
is the totality”:
Paul Jellinek,
The Psychological Basis of Perfumery
(London: Chapman and Hall, 1997), p. 9.
112
“out of your own
experience”:
Rainer Maria Rilke,
Letters to a Young Poet
(New York: W. W. Norton, 1962), p. 35.
experience”:
Rainer Maria Rilke,
Letters to a Young Poet
(New York: W. W. Norton, 1962), p. 35.
113
As befits a zoologist:
D. Michael Stoddart,
The Scented Ape
(Cambridge: Cambridge University Press, 1990), p. 163.
D. Michael Stoddart,
The Scented Ape
(Cambridge: Cambridge University Press, 1990), p. 163.
114
a fascinating experiment:
Jellinek,
The Psychological Basis of Perfumery
, p. 18.
Jellinek,
The Psychological Basis of Perfumery
, p. 18.
115
Paolo Rovesti recollects:
Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980) p. 37.
Paolo Rovesti,
In Search of Perfumes Lost
(Venice: Blow-up, 1980) p. 37.
116
three categories:
Jellinek,
The Psychological Basis of Perfumery
, pp. 145â46.
Jellinek,
The Psychological Basis of Perfumery
, pp. 145â46.
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