Read Essence and Alchemy Online
Authors: Mandy Aftel
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.
Other books
The Games of Supervillainy (The Supervillainy Saga Book 2) by Phipps, C. T.
The Complete Kingdom Trilogy by Robert Low
Coyote V. Acme by Ian Frazier
The Astronaut Wives Club: A True Story by Lily Koppel
Ready to Were by Robyn Peterman
Lord of the Fading Lands by C. L. Wilson
Irresistible by Mary Balogh
The Naming by Alison Croggon
Cuts Like a Knife: A Novel (A Kristen Conner Mystery Book 1) by M.K. Gilroy