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

PEA (SWEET).--A very fine odor may be abstracted from the flowers of the chick-vetch by maceration in any fatty body, and then digesting the pomade produced in spirit. It is, however, rarely manufactured, because a very close IMITATION OF THE ESSENCE OF SWEET PEA. can be prepared thus:-- Extract of tuberose, 1/2 pint. " fleur d'orange, 1/2 " " rose from pomatum, 1/2 " " vanilla, 1 oz. Scents, like sounds, appear to influence the olfactory nerve in certain definite degrees. There is, as it were, an octave of odors like an octave in music; certain odors coincide, like the keys of an instrument. Such as almond, heliotrope, vanilla, and orange-blossoms blend together, each producing different degrees of a nearly similar impression. Again, we have citron, lemon, orange-peel, and verbena, forming a higher octave of smells, which blend in a similar manner. The metaphor is completed by what we are pleased to call semi-odors, such as rose and rose geranium for the half note; petty grain, neroli, a black key, followed by fleur d'orange. Then we have patchouli, sandal-wood, and vitivert, and many others running into each other. From the odors already known we may produce, by uniting them in proper proportion, the smell of almost any flower, except jasmine. The odor of some flowers resembles others so nearly that we are almost induced to believe them to be the same thing, or, at least, if not evolved from the plant as such, to become so by the action of the air-oxidation. It is known that some actually are identical in composition, although produced from totally different plants, such as camphor, turpentine, rosemary. Hence we may presume that chemistry will sooner or later produce one from the other, for with many it is merely an atom of water or an atom of oxygen that causes the difference. It would be a grand thing to produce otto of roses from oil of rosemary, or from the rose geranium oil, and theory indicates its possibility.