Sections Five and Six of the book "The Art of Perfumery and Methods of Obtaining Plant Scents"

Sections Five and Six of the book "The Art of Perfumery and Methods of Obtaining Plant Scents"

SECTION V.

Ammonia.—Under the various titles of "Smelling Salts," "Preston Salts," "Inexhaustible Salts," "Eau de Luce," "Sal Volatile," ammonia, mixed with other odoriferous bodies, has been very extensively consumed as material for gratifying the olfactory nerve.

The perfumer uses liq. amm. fortis, that is, strong liquid ammonia, and the sesqui-carbonate of ammonia, for preparing the various "salts" that he sells. These materials he does not attempt to make; in fact, it is quite out of his province so to do, but he procures them ready for his hand through some manufacturing chemist. The best preparation for smelling-bottles is what is termed Inexhaustible Salts, which is prepared thus:—

Liquid ammonia, 1 pint.

Otto of rosemary, 1 drachm.

" English lavender, 1 "

" bergamot, 1/2 "

" cloves, 1/2 "

Mix the whole together with agitation in a very strong and well-stoppered bottle.

This mixture is used by filling the smelling-bottles with any porous absorbent material, such as asbestos, or, what is better, sponge cuttings, that have been well beaten, washed, and dried. These cuttings can be procured at a nominal price from any of the sponge-dealers, being the trimming or roots of the Turkey sponge, which are cut off before the merchants send it into the retail market. After the bottles are filled with the sponge, it is thoroughly saturated with the scented ammonia, but no more is poured in than the sponge will retain, when the bottles are inverted; as, if by any chance the ammonia runs out and is spilt over certain colored fabrics, it causes a stain. When such an accident happens, the person who sold it is invariably blamed.

When the sponge is saturated properly, it will retain the ammoniacal odor longer than any other material; hence, we presume, bottles filled in this way are called "inexhaustible," which name, however, they do not sustain more than two or three months with any credit; the warm hand soon dissipates the ammonia under any circumstances, and they require to be refilled.

For transparent colored bottles, instead of sponge, the perfumers use what they call insoluble crystal salts (sulphate of potass). The bottles being filled with crystals, are covered either with the liquid ammonia, scented as above, or with alcoholic ammonia. The necks of the bottles are filled with a piece of white cotton; otherwise, when inverted, from the non-absorbent quality of the crystals, the ammonia runs out, and causes complaints to be made. The crystals are prettier in colored bottles than the sponge; but in plain bottles the sponge appears quite as handsome, and, as before observed, it holds the ammonia better than any other material. Perfumers sell also what is called White Smelling Salts, and Preston Salts. The White Smelling Salt is the sesqui-carbonate of ammonia in powder, with which is mixed any perfuming otto that is thought fit,—lavender otto giving, as a general rule, the most satisfaction.

Preston Salts, which is the cheapest of all the ammoniacal compounds, is composed of some easily decomposable salt of ammonia and lime, such as equal parts of muriate of ammonia, or of sesqui-carbonate of ammonia, and of fresh-slaked lime. When the bottles are filled with this compound, rammed in very hard, a drop or two of some cheap otto is poured on the top prior to corking. For this purpose otto of French lavender, or otto of bergamot, answers very well. We need scarcely mention that the corks are dipped into melted sealing-wax, or brushed over with liquid wax, that is, red or black wax dissolved in alcohol, to which a small portion of ether is added. The only other compound of ammonia that is sold in the perfumery trade is Eau de Luce, though properly it belongs to the druggist. When correctly made—which is very rarely the case—it retains the remarkable odor of oil of amber, which renders it characteristic.

Eau de Luce.

Tincture of benzoin: or, }

" balsam of Peru, } 1 oz.

Otto of lavender, 10 drops.

Oil of amber, 5 "

Liquor ammonia, 2 oz.

If requisite, strain through cotton wool, but it must not be filtered, as it should have the appearance of a milk-white emulsion.

Acetic Acid and its Use in Perfumery.—The pungency of the odor of vinegar naturally brought it into the earliest use in the art of perfumery.

The acetic acid, evolved by distilling acetate of copper (verdigris), is the true "aromatic" vinegar of the old alchemists.

The modern aromatic vinegar is the concentrated acetic acid aromatized with various ottos, camphor, &c., thus—

Aromatic Vinegar.

Concentrated acetic acid, 8 oz.

Otto of English lavender, 2 drachms.

" " rosemary, 1 drachm.

" cloves, 1 "

" camphor, 1 oz.

First dissolve the bruised camphor in the acetic acid, then add the perfumes; after remaining together for a few days, with occasional agitation, it is to be strained, and is then ready for use.

Several forms for the preparation of this substance have been published, almost all of which, however, appear to complicate and mystify a process that is all simplicity.

The most popular article of this kind is—

Henry's Vinegar.

Dried leaves of rosemary, rue, wormwood, sage, mint, and lavender flowers, each, 1/2 oz.

Bruised nutmeg, cloves, angelica root, and camphor, each, 1/4 oz.

Alcohol (rectified), 4 oz.

Concentrated acetic acid, 16 oz.

Macerate the materials for a day in the spirit; then add the acid, and digest for a week longer, at a temperature of about 14° C. or 15° C. Finally, press out the new aromatized acid, and filter it.

As this mixture must not go into the ordinary metallic tincture press, for the obvious reason of the chemical action that would ensue, it is best to drain as much of the liquor away as we can, by means of a common funnel, and then to save the residue from the interstices of the herbs, by tying them up in a linen cloth, and subjecting them to pressure by means of an ordinary lemon-squeezer, or similar device.

Vinaigre a la Rose.

Concentrated acetic acid, 1 oz.

Otto of roses, 1/2 drachm.

Well shaken together.

It is obvious that vinegars differently perfumed may be made in a similar manner to the above, by using other ottos in place of the otto of roses. All these concentrated vinegars are used in the same way as perfumed ammonia, that is, by pouring three or four drachms into an ornamental "smelling" bottle, previously filled with crystals of sulphate of potash, which forms the "sel de vinaigre" of the shops; or upon sponge into little silver boxes, called vinaigrettes, from their French origin. The use of these vinegars had their origin in the presumption of keeping those who carried them from the effects of infectious disease, doubtless springing out of the story of the "four thieves' vinegar," which is thus rendered in Lewis's Dispensatory:

"It is said that during the plague at Marseilles, four persons, by the use of this preservative, attended, unhurt, multitudes of those that were affected; that under the color of these services, they robbed both the sick and the dead; and that being afterwards apprehended, one of them saved himself from the gallows by disclosing the composition of the prophylactic (a very likely story!!), which was as follows:—

Vinaigre des quatre Voleurs, or Four Thieves' Vinegar.

Take fresh tops of common wormwood, Roman wormwood, rosemary, sage, mint, and rue, of each, 3/4 oz.

Lavender flowers, 1 oz.

Garlic, calamus aromaticus, cinnamon, cloves, and nutmeg, each, 1 drachm.

Camphor, 1/2 oz.

Alcohol or brandy, 1 oz.

Strong vinegar, 4 pints.

Digest all the materials, except the camphor and spirit, in a closely covered vessel for a fortnight, at a summer heat; then express and filter the vinaigre produced, and add the camphor previously dissolved in the brandy or spirit."

A very similar and quite as effective a preparation may be made by dissolving the odorous principle of the plants indicated in a mixture of alcohol and acetic acid. Such preparations, however, are more within the province of the druggist than perfumer. There are, however, several preparations of vinegar which are sold to some extent for mixing with the water for lavatory purposes and the bath, their vendors endeavoring to place them in competition with Eau de Cologne, but with little avail. Among them may be enumerated—

Hygienic or Preventive Vinegar.

Brandy, 1 pint.

Otto of cloves, 1 drachm.

" lavender, 1 "

" marjoram, 1/2 drachm.

Gum benzoin, 1 oz.

Macerate these together for a few hours, then add—

Brown vinegar, 2 pints.

and strain or filter, if requisite, to be bright.

Toilet Vinegar (à la Violette).

Extract of cassie, 1/2 pint.

" orris, 1/4 "

Esprit de rose, triple, 1/4 "

White wine vinegar, 2 pints.

Toilet Vinegar (à la Rose).

Dried rose-leaves, 4 oz.

Esprit de rose, triple, 1/2 pint.

White wine vinegar, 2 pints.

Macerate in a close vessel for a fortnight, then filter and bottle for sale.

Vinaigre de Cologne.

To eau de Cologne, 1 pint,

Add, strong acetic acid, 1/2 oz.

Filter if necessary.

Without unnecessarily repeating similar formulæ, it will be obvious to the reader that vinegar of any flower may be prepared in a similar way to those above noticed; thus, for vinaigre à la jasmine, or for vinaigre à la fleur d'orange, we have only to substitute the esprit de jasmine, or the esprit de fleur d'orange, in place of the Eau de Cologne, to produce orange-flower or jasmine vinegars; however, these latter articles are not in demand, and our only reason for explaining how such preparations may be made, is in order to suggest the methods of procedure to any one desirous of making them leading articles in their trade.

We perhaps may observe, en passant, that where economy in the production of any of the toilet vinegars is a matter of consideration, they have only to be diluted with rose-water down to the profitable strength required.

Any of the perfumed vinegars that are required to produce opalescence, when mixed with water, must contain some gum-resin, like the hygienic vinegar, as above. Either myrrh, benzoin, storax, or tolu, answer equally well.

SECTION VI.

BOUQUETS AND NOSEGAYS.

In the previous articles we have endeavored to explain the mode of preparing the primitive perfumes—the original odors of plants. It will have been observed, that while the majority can be obtained under the form of otto or essential oil, there are others which hitherto have not been isolated, but exist only in solution in alcohol, or in a fatty body. Of the latter are included all that are most prized, with the exception of otto of rose—that diamond among the odoriferous gems. Practically, we have no essential oils or ottos of Jasmine, Vanilla, Acacia, Tuberose, Cassie, Syringa, Violets, and others. What we know of these odors is derived from esprits, obtained from oils or fats, in which the several flowers have been repeatedly infused, and afterwards infusing such fats or oils in alcohol. Undoubtedly, these odors are the most generally pleasing, while those made from the essential oils (i.e. otto), dissolved in spirit, are of a secondary character. The simple odors, when isolated, are called Essential Oils or Ottos; when dissolved or existing in solution in alcohol, by the English they are termed Essences, and by the French Extraits or Esprits; a few exceptions prove this rule. Essential oil of orange-peel, and of lemon-peel, are frequently termed in the trade "Essence" of orange and "Essence" of lemons, instead of essential oil or otto of lemons, &c. The sooner the correct nomenclature is used in perfumery, as well as in the allied arts, the better, and the fewer blunders will be made in the dispensatory. It appears to the writer, that if the nomenclature of these substances were revised, it would be serviceable; and he would suggest that, as a significant, brief, and comprehensive term, Otto be used as a prefix to denote that such and such a body is the odoriferous principle of the plant. We should then have otto of lavender instead of essential oil of lavender, &c. &c. In this work it will be seen that the writer has generally used the word otto in place of "essential oil," in accordance with his views. Where there exists a solution of an essential oil in a fat oil, the necessity of some such significant distinction is rendered obvious, for commercially such articles are still called "oils"—oil of jasmine, oil of roses, &c. It cannot be expected that the public will use the words "fat" oil and "essential" oil, to distinguish these differences of composition.

There are several good reasons why the odoriferous principle of plants should not be denominated oils. In the first place, it is a bad principle to give any class of substances the same signification as those belonging to another. Surely, there are enough distinguishing qualities in their composition, their physical character, and chemical reaction, to warrant the application of a significant name to that large class of substances known as the aroma of plants!

When the chemical nomenclature was last revised, the organic bodies were little dealt with. We know that we owe this universal "oil" to the old alchemist, much in the same way as "spirit" has been used, but a little consideration quickly indicates the folly of its continued use. We can no longer call otto of rosemary, or otto of nutmegs, essential oil of rosemary or nutmegs, with any more propriety than we can term sulphuric acid "oil" of vitriol. All the chemical works speak of the odoriferous bodies as "essential" or "volatile" oils, and of the greasy bodies as "fat" or "unctuous" oils. Oils, properly so called, unite with salifiable bases and form soap; whereas the essential or volatile oils, i.e. what we would please to call the ottos, do no such thing. On the contrary, they unite with acids in the majority of instances.

The word oil must hereafter be confined to those bodies to which its literal meaning refers—fat, unctuous, inodorous (when pure), greasy substances—and can no longer be applied to those odoriferous materials which possess qualities diametrically opposite to oil. We have grappled with "spirit," and fixed its meaning in a chemical sense; we have no longer "spirit" of salt, or "spirit" of hartshorn. Let us no longer have almond oil "essential," almond oil "unctuous," and the like.

It remains only for us to complete the branch of perfumery which relates to odors for the handkerchief, by giving the formulæ for preparing the most favorite "bouquets" and "nosegays." These, as before stated, are but mixtures of the simple ottos in spirit, which, properly blended, produce an agreeable and characteristic odor,—an effect upon the smelling nerve similar to that which music or the mixture of harmonious sounds produces upon the nerve of hearing, that of pleasure.

The Alhambra Perfume.

Extract of tubereuse, 1 pint.

" geranium, 1/2 "

" acacia, 1/4 "

" fleur d'orange, 1/4 "

" civet, 1/4 "

The Bosphorus Bouquet.

Extract of acacia, 1 pint.

" jasmine, }

" rose triple, }of each, 1/2 "

" fleur d'orange, }

" tubereuse, }

" civet, 1/4 "

Otto of almonds, 10 drops.

Bouquet d'Amour.

Esprit de rose, }

" jasmine, }from pomade, of each, 1 pint.

" violette, }

" cassie, }

Extract of musk, } of each, 1/2 "

" ambergris, }

Mix and filter.

Bouquet des Fleurs du Val d'Andorre.

Extrait de jasmine, }

" rose, } from pomade, of each, 1 pint.

" violette, }

" tuberose, }

Extract of orris, 1 "

Otto of geranium, 1/4 oz.

Buckingham Palace Bouquet.

Extrait de fleur d'orange, }

" cassie, } from pomade, of each, 1 pint.

" jasmine, }

" rose, }

Extract of orris, } of each, 1/2 "

" ambergris, }

Otto of neroli, 1/2 drachm.

" lavender, 1/2 "

" rose, 1 "

Bouquet de Caroline; also called Bouquet des Delices.

Extrait de rose, }

" violette, } from pomade, of each, 1 pint.

" tuberose,} }

Extract of orris, } of each, 1/2 "

" ambergris, }

Otto of bergamot, }

" Limette, } of each, 1/4 oz.

" cedret, }

The Court Nosegay.

Extrait de rose, }

" violette, } of each, 1 pint.

" jasmine, }

Esprit de rose triple, 1 "

Extract of musk, } of each, 1 oz.

" ambergris, }

Otto of lemon, } of each, 1/2 oz.

" bergamot, }

" neroli, 1 drachm.

Eau de Chypre.

This is an old-fashioned French perfume, presumed to be derived from the Cyperus esculentus by some, and by others to be so named after the Island of Cyprus; the article sold, however, is made thus—

Extract of musk, 1 pint.

" ambergris, }

" vanilla, } of each, 1/2 "

" tonquin bean, }

" orris, }

Esprit de rose triple, 2 pints.

The mixture thus formed is one of the most lasting odors that can be made.

Empress Eugenie's Nosegay.

Extract of musk, }

" vanilla, } of each, 1/4 pint.

" tonquin, }

" neroli, }

" geranium, }

" rose triple, } of each, 1/2 "

" santal, }

Esterhazy Bouquet.

Extrait de fleur d'orange (from pomade), 1 pint.

Esprit de rose triple, 1 "

Extract of vitivert, }

" vanilla, } of each, 2 "

" orris, }

" tonquin, }

Esprit de neroli, 1 "

Extract of ambergris, 1/2 "

Otto of santal, 1/2 drachm.

" cloves, 1/2 "

Notwithstanding the complex mixture here given, it is the vitivert that gives this bouquet its peculiar character. Few perfumes have excited greater furor while in fashion.

Ess Bouquet.

The reputation of this perfume has given rise to numerous imitations of the original article, more particularly on the continent. In many of the shops in Germany and in France will be seen bottles labelled in close imitation of those sent out by Bayley and Co., Cockspur Street, London, who are, in truth, the original makers.

Esprit de rose triple, 1 pint.

Extract of ambergris, 2 oz.

" orris, 8 "

Otto of lemons, 1/4 "

" bergamot, 1 "

The name "Ess" bouquet, which appears to puzzle some folk, is but a mere contraction of "essence" of bouquet.

Eau de Cologne. (La première qualité.)

Spirit (from grape), 60 over proof, 6 gallons.

Otto of neroli, Petale, 3 oz.

" " Bigarade, 1 "

" rosemary, 2 "

" orange-peel, 5 "

" citron-peel, 5 "

" bergamot-peel, 2 "

Mix with agitation; then allow it to stand for a few days perfectly quiet, before bottling.

Eau de Cologne. (La deuxième qualité.)

Spirit (from corn), 6 gallons.

Otto of neroli,Petit-grain, 2 oz.

" " Petale, 1/2 "

" rosemary, 2 "

" orange-peel, }

" lemon, } of each, 4 "

" bergamot, }

Although Eau de Cologne was originally introduced to the public as a sort of "cure-all," a regular "elixir of life," it now takes its place, not as a pharmaceutical product, but among perfumery. Of its remedial qualities we can say nothing, such matter being irrelevant to the purpose of this book. Considered, however, as a perfume, with the public taste it ranks very high; and although it is exceedingly volatile and evanescent, yet it has that excellent quality which is called "refreshing." Whether this be due to the rosemary or to the spirit, we cannot say, but think something may be attributed to both. One important thing relating to Eau de Cologne must not, however, pass unnoticed, and that is, the quality of the spirit used in its manufacture. The utter impossibility of making brandy with English spirit in any way to resemble the real Cognac, is well known. It is equally impossible to make Eau de Cologne with English spirit, to resemble the original article. To speak of the "purity" of French spirit, or of the "impurity" of English spirit, is equally absurd. The fact is, that spirit derived from grapes, and spirit obtained from corn, have each so distinct and characteristic an aroma, that the one cannot be mistaken for the other. The odor of grape spirit is said to be due to the œanthic ether which it contains. The English spirit, on the other hand, owes its odor to fusel oil. So powerful is the œanthic ether in the French spirit, that notwithstanding the addition to it of such intensely odoriferous substances as the ottos of neroli, rosemary, and others, it still gives a characteristic perfume to the products made containing it, and hence the difficulty of preparing Eau de Cologne with any spirit destitute of this substance.

Although very fine Eau de Cologne is often made by merely mixing the ingredients as indicated in the recipe as above, yet it is better, first, to mix all the citrine ottos with spirit, and then to distil the mixture, afterwards adding to the distillate the rosemary and nerolies, such process being the one adopted by the most popular house at Cologne.

A great many forms for the manufacture of Eau de Cologne have been published, the authors of some of the recipes evidently having no knowledge, in a practical sense, of what they were putting by theory on paper; other venturers, to show their lore, have searched out all the aromatics of Lindley's Botany, and would persuade us to use absinthe, hyssop, anise, juniper, marjoram, caraway, fennel, cumin, cardamom, cinnamon, nutmeg, serpolet, angelica, cloves, lavender, camphor, balm, peppermint, galanga, lemon thyme, &c. &c. &c.

All these, however, are but hum—! Where it is a mere matter of profit, and the formula that we have given is too expensive to produce the article required, it is better to dilute the said Cologne with a weak spirit, or with rose-water, rather than otherwise alter its form; because, although weak, the true aroma of the original article is retained.

The recipe of the second quality of Eau de Cologne is given, to show that a very decent article can be produced with English spirit.

Flowers of Erin.

Extract of white rose (see White Rose), 1 pint.

" vanilla, 1 oz.

Royal Hunt Bouquet.

Esprit de rose triple, 1 pint.

" neroli, }

" acacia, }

" fleur d'orange, } of each 1/4 "

" musk, }

" orris, }

" tonquin, 1/2 "

Otto of citron 2 drachms.

Bouquet de Flora; otherwise, Extract of Flowers.

Esprit de rose, }

" tubereuse, } from pomade, of each, 1 pint.

" violette, }

Extract of benzoin, 1-1/2 oz.

Otto of bergamot, 2 "

" lemon, }

" orange, } of each, 1/2 "

The Guards' Bouquet.

Esprit de rose, 2 pints.

" neroli, 1/2 pint.

Extract of vanilla, 2 oz.

" orris, 2 "

" musk, 1/4 pint.

Otto of cloves, 1/2 drachm.

Fleur d'Italie; or Italian Nosegay.

Esprit de rose, from pomade, 2 pints.

" rose triple, 1 pint.

" jasmine, }

" violette, } from pomade, each, 1 "

Extract of cassie, 1/2 "

" musk, }

" ambergris, } of each, 2 oz.

Jockey Club Bouquet. (English formula.)

Extract of orris root, 2 pints.

Esprit de rose, triple, 1 pint.

" rose de pomade, 1 "

Extrait de cassie, }

" tubereuse, } de pomade, of each 1/2 "

" ambergris, } 1/2 "

Otto of bergamot, 1/2 oz.

Jockey Club Bouquet. (French formula.)

Esprit de rose, de pomade, 1 pint.

" tubereuse, 1 "

" cassie, 1/2 "

" jasmine, 1/4 "

Extract of civet, 3 oz.

Independently of the materials employed being different to the original English recipe, it must be remembered that all the French perfumes are made of brandy, i.e. grape spirit; whereas the English perfumes are made with corn spirit, which alone modifies their odor. Though good for some mixtures, yet for others the grape spirit is very objectionable, on account of the predominance of its own aroma.

We have spoken of the difference in the odor between the English and French spirit; the marked distinction of British and Parisian perfumes made according to the same recipes is entirely due to the different spirits employed. Owing to the strong "bouquet," as the French say, of their spirit in comparison with ours, the continental perfumers claim a superiority in the quality of their perfumes. Now, although we candidly admit that some odors are better when prepared with grape spirit than with that from corn spirit, yet there are others which are undoubtedly the best when prepared with spirit derived from the latter source. Musk, ambergris, civet, violet, tubereuse, and jasmine, if we require to retain their true aroma when in solution in alcohol, must be made with the British spirit.

All the citrine odors, verveine, vulnerary waters, Eau de Cologne, Eau de Portugal, Eau d'Arquebuzade, and lavender, can alone be brought to perfection by using the French spirit in their manufacture. If extract of jasmine, or extract of violet, &c., be made with the French or brandy spirit, the true characteristic odor of the flower is lost to the olfactory nerve—so completely does the œanthic ether of the grape spirit hide the flowery aroma of the otto of violet in solution with it. This solves the paradox that English extract of violet and its compounds, "spring flowers," &c., is at all times in demand on the Continent, although the very flowers with which we make it are grown there.

On the contrary, if an English perfumer attempts to make Eau de Portugal, &c., to bear any comparison as a fine odor to that made by Lubin, of Paris, without using grape spirit, his attempts will prove a failure. True, he makes Eau de Portugal even with English corn spirit, but judges of the article—and they alone can stamp its merit—discover instantly the same difference as the connoisseur finds out between "Patent British" and foreign brandy.

Perhaps it may not be out of place here to observe that what is sold in this country as British brandy is in truth grape spirit, that is, foreign brandy very largely diluted with English spirit! By this scheme, a real semblance to the foreign brandy flavor is maintained; the difference in duty upon English and foreign spirit enables the makers of the "capsuled" article to undersell those who vend the unsophisticated Cognac.

Some chemists, not being very deep in the "tricks of trade," have thought that some flavoring, or that œanthic ether, was used to impart to British spirit the Cognac aroma. An article is even in the market called "Essence of Cognac," but which is nothing more than very badly made butyric ether.

On the Continent a great deal of spirit is procured by the fermentation of the molasses from beet-root; this, of course, finds its way into the market, and is often mixed with the grape spirit; so, also, in England we have spirit from potatoes, which is mixed in the corn spirit. These adulterations, if we may so term it, modify the relative odors of the primitive alcohols.

A Japanese Perfume.

Extract of rose triple, }

" vitivert, }

" patchouly, } of each, 1/2 pint.

" cedar, }

" santal, }

" vervaine, 1/4 "

Kew Garden Nosegay.

Esprit de neroli (Petale), 1 pint.

" cassie, }

" tubereuse, } from pomade, of each, 1/2 "

" jasmine, }

" geranium, 1/2 "

" musk, } of each, 3 oz.

" ambergris, }

Eau des Millefleurs

Esprit de rose triple, 1 pint.

" rose de pomade, }

" tubereuse, }

" vjasmine, } from pomade, of each, 1/2 "

" fleur d'orange, }

" cassie, }

" violette, }

Extract of cedar, 1/4 "

Extract of vanilla, }

" ambergris, } of each, 2 oz.

" musk, }

Otto of almonds, }

" neroli, } of each, 10 drops.

" cloves, }

" bergamot, 1 oz.

These ingredients are to remain together for at least a fortnight, then filtered prior to sale.

Millefleurs et Lavender

Essence of lavender (Mitcham), 1/2 pint.

Eau des millefleurs, 1 "

Decroix's Milleflower Lavender.

Spirits from grape, 1 pint.

French otto of lavender, 1 oz.

Extract of ambergris, 2 oz.

The original "lavender aux millefleurs" is that of Delcroix; its peculiar odor is due to the French otto of lavender, which, although some folks like it, is very inferior to the English otto of lavender; hence the formula first given is far superior to that by the inventor, and has almost superseded the original preparations.

There are several other compounds or bouquets of which lavender is the leading ingredient, and from which they take their name, such as lavender and ambergris, lavender and musk, lavender and maréchale, &c., all of which are composed of fine spirituous essences of lavender, with about 15 per cent. of any of the other ingredients.

Bouquet du Marechale.

Esprit de rose triple, } of each, 1 pint.

Extrait de fleur d'orange, }

" vitivert, }

" vanilla, }

" orris, } of each, 1/2 "

" tonquin, }

Esprit de neroli, }

Extract of musk, } of each, 1/4 pint.

" ambergris, }

Otto of cloves, } of each, 1/2 drachm.

" santal, }

Eau de Mousselaine.

Bouquet maréchale, 1 pint.

Extrait de cassie, }

" jasmine, } from pomade, of each, 1/2 "

" tubereuse, }

" rose, }

Otto of santal, 2 drachms.

Bouquet de Montpellier.

Extrait de tubereuse, 1 pint.

" rose de pomade, 1 "

" rose triple, 1 "

Extract of musk, } of each, 1/4 "

" ambergris, }

Otto of cloves, 1-1/2 drachm.

" bergarmot, 1/2 oz.

Caprice de la Mode.

Extrait de jasmine, }

" tubereuse, } of each, 1/2 pint.

" cassie, }

" fleur d'orange, }

Otto of almonds, 10 drops.

" nutmegs, 10 "

Extract of civet, 1/4 pint.

May Flowers.

Extract of rose (de pomade), }

" jasmine, } of each, 1/2 pint.

" fleur d'orange, }

" cassie, }

" vanilla, 1 "

Otto of almonds, 1/4 drachm.

Neptune, or Naval Nosegay.

Extrait de rose, triple, }

" santal, } of each, 1/2 pint.

" vitivert, }

" patchouly, }

" verbena, 1/8 "

Bouquet of all Nations.

Countries wherein the Odors are produced.

Turkey, Esprit de rose triple, 1/2 pint.

Africa, Extract of jasmine, 1/2 "

England, " lavender, 1/4 "

France, " tubereuse, 1/2 "

South America, " vanilla, 1/4 "

Timor, " santal, 1/4 "

Italy, " violet, 1 "

Hindoostan, " patchouly, 1/4 "

Ceylon, Otto of citronella, 1 drachm.

Sardinia, " lemons, 1/4 oz.

Tonquin, Extract of musk, 1/4 pint.

Isle of Wight Bouquet.

Extract of orris, 1/2 pint.

" vitivert, 1/4 "

" santal, 1 "

" rose, 1/2 "

Bouquet du Roi.

Extract of jasmine, }

" violet, } from pomade, of each, 1 pint.

" rose }

" vanilla, } of each, 1/4 pint.

" vitivert, }

" musk, } of each, 1 oz.

" ambergris, }

Otto of bergamot, 1 oz.

" cloves, 1 drachm.

Bouquet de la Reine.

Esprit de rose, } from pomade, of each, 1 pint.

Extrait de violette, }

" tubereuse, 1/2 "

" fleur d'orange, 1/4 "

Otto of bergamot, 1/4 oz.

Rondeletia.

The perfume bearing the above name is undoubtedly one of the most gratifying to the smelling nerve that has ever been made. Its inventors, Messrs. Hannay and Dietrichsen, have probably taken the name of this odor from the Rondeletia, the Chyn-len of the Chinese; or from the R. odorata of the West Indies, which has a sweet odor. We have before observed that there is a similarity of effect upon the olfactory nerve produced by certain odors, although derived from totally different sources: that, for instance, otto of almonds may be mixed with extract of violet in such proportion that, although the odor is increased, yet the character peculiar to the violet is not destroyed. Again: there are certain odors which, on being mixed in due proportion, produce a new aroma, perfectly distinct and peculiar to itself. This effect is exemplified by comparison with the influence of certain colors when mixed, upon the nerve of vision: such, for instance, as when yellow and blue are mixed, the result we call green; or when blue and red are united, the compound color is known as puce or violet.

Now when the odor of lavender and odor of cloves are mixed, they produce a new fragrance, i.e. Rondeletia! It is such combinations that constitute in reality "a new perfume," which, though often advertised, is very rarely attained. Jasmine and patchouly produce a novel aroma, and many others in like manner; proportion and relative strength, when so mixed, must of course be studied, and the substances used accordingly. If the same quantity of any given otto be dissolved in a like proportion of spirit, and the solution be mixed in equal proportions, the strongest odor is instantly indicated by covering or hiding the presence of the other. In this way we discover that patchouly, lavender, neroli, and verbena are the most potent of the vegetable odors, and that violet, tubereuse, and jasmine are the most delicate.

Many persons will at first consider that we are asking too much, when we express a desire to have the same deference paid to the olfactory nerve, as to the other nerves that influence our physical pleasures and pains. By tutoring the olfactory nerve, it is capable of perceiving matter in the atmosphere of the most subtle nature: not only that which is pleasant, but also such as are unhealthful. If an unpleasant odor is a warning to seek a purer atmosphere, surely it is worth while to cultivate that power which enables us to act up to that warning for the general benefit of health.

To return, however, to Rondeletia: it will be seen by the annexed formulæ, that, besides the main ingredients to which it owes its peculiar character—that is, cloves and lavender—it contains musk, vanilla, &c. These substances are used in these as in nearly all other bouquets for the sole purpose of fixing the more volatile odors to the handkerchief.

Essence of Rondeletia.

Spirit (brandy 60 o.p.), 1 gallon.

Otto of lavender, 2 oz.

" cloves, 1 oz.

" roses, 3 drachms.

" bergamot, 1 oz.

Extract of musk, }

" vanilla, } each, 1/4 pint.

" ambergris, }

The mixture must be made at least a month before it is fit for sale. Very excellent Rondeletia may also be made with English spirit.

Bouquet Royal.

Extract of rose (from pomade), 1 pint.

Esprit de rose, triple, 1/2 "

Extract of jasmine, } from pomade, each, 1/2 "

" violet, }

" verbena, } each, 2-1/2 oz.

" cassie, }

Otto of lemons, } each, 1/4 oz.

" bergamot, }

Extract of musk, } each, 1 oz.

" ambergris, }

Suave.

Extract of tubereuse, }

" jasmine, } from pomade, each, 1 pint.

" cassie, }

" rose, }

" vanilla, 5 oz.

" musk, } each, 2 oz.

" ambergris, }

Otto of bergamot, 1/4 oz.

" cloves, 1 drachm.

Spring Flowers.

Extract of rose, } from pomade, each, 1 pint.

" violet, }

" rose, triple, 2-1/2 oz.

" cassie, 2-1/2 oz.

Otto of bergamot, 2 drachms.

Extract of ambergris, 1 oz.

The just reputation of this perfume places it in the first rank of the very best mixtures that have ever been made by any manufacturing perfumer. Its odor is truly flowery, but peculiar to itself. Being unlike any other aroma it cannot well be imitated, chiefly because there is nothing that we are acquainted with that at all resembles the odor of the esprit de rose, as derived from macerating rose pomade in spirit, to which, and to the extract of violet, nicely counterpoised, so that neither odor predominates, the peculiar character of "Spring Flowers" is due; the little ambergris that is present gives permanence to the odor upon the handkerchief, although from the very nature of the ingredients it may be said to be a fleeting odor. "Spring Flowers" is an Englishman's invention, but there is scarcely a perfumer in Europe that does not attempt an imitation.

Tulip Nosegay.

Nearly all the tulip tribe, although beautiful to the eye, are inodorous. The variety called the Duc Van Thol, however, yields an exquisite perfume, but it is not used by the manufacturer for the purpose of extracting its odor. He, however, borrows its poetical name, and makes an excellent imitation thus:—

Extract of tubereuse, } from pomade each, 1 pint.

" violet, }

" rose, 1/2 "

" orris, 3 oz.

Otto of almonds, 3 drops.

Violette des Bois.

Under the head Violet, we have already explained the method of preparing the extract or essence of that modest flower. The Parisian perfumers sell a mixture of violet, which is very beautiful, under the title of the Violet des Bois, or the Wood Violet, which is made thus:—

Extract of violet, 1 pint.

" orris, 3 oz.

" cassie, 3 oz.

" rose (from pomade) 3 oz.

Otto of almonds, 3 drops.

This mixture, in a general way, gives more satisfaction to the customer than the pure violet.

Windsor Castle Bouquet.

Alcohol, 1 pint.

Otto of neroli, }

" rose, } each, 1/4 oz.

" lavender, }

" bergamot, }

" cloves, 8 drops.

Extract of orris, 1 pint.

" jasmine, } each, 1/4 "

" cassie, }

" musk, } each, 2-1/2 oz.

" ambergris, }

Yacht Club Bouquet.

Extract of santal, 1 pint.

" neroli, 1 "

" jasmine, } each, 1/2 "

" rose triple, }

" vanilla, 1/4 "

Flowers of benzoin, 1/4 oz.

We have now completed the branch of the Art of Perfumery which relates to handkerchief perfumes, or wet perfumery. Although we have rather too much encroached upon the space of this work in giving the composition of so many bouquets, yet there are many left unnoticed which are popular. Those that are given are noted more particularly for the peculiar character of their odor, and are selected from more than a thousand recipes that have been practically tried.

Those readers who require to know anything about the simple extracts of flowers are referred to them under their respective alphabetical titles.

Sources

eBook of The Art of Perfumery, and Methods of Obtaining the Odors of Plants