Perfumes

and Flavours

Technology Handbook

By

H. Panda

MSc.F.I.C.F.I.C.S.

Industrial Consultant

Technical Consultant. G.I D.C.,

Fellow of Indian National Science Congress.

Member of Chinese Academy of Forestry.

Former Chemist (R & D). I.T.R. Co. Ltd. (U.P.)

Asia Pacific Business Press inc.AN ISO 9001 : 2000 COMPANY

106-E. Kamla Nagar. Delhi-110 007 (INDIA)

CONTENTS

1. Classification of Odours and Odorancs 1

2. Flower Perfumes 15

3. Sophisticated Perfumes 60

4. Perfume for Men 86

5. Perfumes for Many Purposes 99

6. Essential Oils Used in Perfumes 125

7. Synthetic Odorants 187

8. Chemical Used in flavour mid Perluines 190

9. Aromatic Chemical Used in Flavour and Perfume Compounds 256

10. Natural Odour of Aromatic Chemicals 288

11. Basic Flavouring Materials 309

12. Aromatic Chemicals Used in Flavour Compounding 335

13. Solvents 352

14. Colorant for Ptavour and Perfume 350

15. Stabilizer 367

16. Formulation of Perfumes 371

17. Formulations of Flavours 451

1

CLASSIFICATION OF ODOURS

AND ODORANTS

When one is dealing with hundreds and win sometimes thousands of raw materials of

widely differing characteristics odours, odour intensities, and chemical and physical

properties, it is essential to have some means of classifying them, of dividing them into

groups and sub groups, in order to facilitate selection, comparison, arrangement,

blending and even discussion of their special feature and functions. As McCartney has

observed in his scholarly work on olfaction and odours ‘the difficulties of classification

are particularly well known to perfumers, of course, and they may often invent systems

of their own for private use.

Such ‘private’ systems (and there is rarely anything secret or mysterious about

them} are usually based on information gained empirically, added to data culled from

the existing literature and other professional sources. In devising his own simplified

classification of odours in 1708, Fourcroy had the good sense to point out that ’this

division, this classification is arbitrary, uncertain and fragile, since our sensory

impressions, and above all those, of olfactory origin, are not fixed, permanent or equal

in all men at the one time or in one individual at all times’. Even so, a perfumer's

classification, based on a perfumer’s expertise and experience, is almost certain to be of

greater significance and practical utility to himself and to other perfumers than would

he, for example, any of the non-perfumery classification based more or less strictly on

botanical, chemical or psychological considerations.

Published works on perfumery usually make reference to the odour

classifications of Rimmel, Piesse, Zwaardemaker, Heyninx, Henning, von Skramlik,

Matteotti and Crocker and Henderson.

The last-named co-workers announced in 1927 their ‘semi-quantitative

evaluation of odours, making possible the accurate description of any odour by the

simple device of a four digit number. Crocker and Henderson‘a digits represent fragrant

(or sweet, acid |sour), burnt {empyreumatic| and caprylic: a truly remarkable

simplification. They consider that these four elementary odours tuc ‘the principal anti

perhaps the only units which make up all the odours we perceive'. The maximum

intensity of each of these elementary odours is arbitrarily allocated the number 8. so that

Tonquin musk, whose code number is given as 8476, is top-rated as 8 for fragrance,

with a moderate 4 for acidity, 7 for ‘burntneaa’ and 6 for ita auppoaed 'caprylic’

tonality. Similarly Vose’ is coded as 6423-but what is a ‘lose’ odour? ‘A ix>se i* a rose

is a lose is a rose' to Gertrude Stein and presumably also to Crocker and Henderson, but

to the perfumer the rose odour is a most variable quantity. As perfumers we find it

difficult to acknowledge the significance of 6423. The Crocker and Henderson ayatem

and the approach that it repreaents have attracted a good deal of attention and support,

though not chiefly, one asaumes, among practising perfumer.

Of much greater interest to the latter are aome of the classifications, both of

complex odours and individual odorants. made by perfumers. These are necessarily

subjective but cannot be lightly dismissed, because of this, as unsatisfactory. They not

only fill an immediate need but are often extremely reliable. We ourselves have, for

example, made a comparative study with six other perfumers, all working separately, of

a whole seriea of odoranta aaaeasing characteristics and analogies at three stagea of

evaporation The level of agreement was veiy high. When making such tests much

depends of course upon professional training and objectivity.

A clear distinction must here be made between attempts to classify odours, e.g.

as floral, woody, balsamic and so on. and attempts to classify the actual odoranta or

constituents of complex odour a, as for example into top note, middle note and base note

constituents. Both systems are useful. It is probably more convenient to look first at

some current classifications of odorants. Of these the most comprehensive and

ambitious is Poucher’s classification, based on a subjective assessment of the relative

duration of evaporation of some 330 perfumery chemicals, eascntial oila and other

odorous materiala. Obviously thia publiahed liat could be very conaiderably extended,

as W.A. Poucher has himself suggested. The main criterion of this type of classification

is relative volatility, which may be regarded as the vapour pressure at ordinary

temperatures. but in practice. owing to the complex character of essential oils and flower

absolutes etc., it is vastly more satisfactory to use a subjective method of comparing

odorants. This Poucher accomplished by examining each material, or an appropriately

standardised dilution, by meana of smelling slips. When carrying out his testa he 'had to

decide on what should be the end point of each odour. The characteristic note of come

natural products may be fleeting while the residual smell lingers on. But since each

aromatic substance is employed primarily for its typical odour note, I decided to check

and re-check the point at which thia distinguishing feature disappeared. Moreover, I had

to place a time limit on these substances of longest duration, such as patchouli, and

oakmoss, and 1 gave them the figure or coefficient of 100 ... To those that evaporated in

less than one day 1 gave the coefficient 1. and to the others 2 to 100/Thus, eventually,

the Poucher classification as published comprised over 300 items, each of which was

distinguished by a coefficient ranging from 1 (e.g. amyl acetate) to 100 (e.g. ambergris

extract, vanillin and vetivert).

Poucher further subdivided hia materials into those with coefficients ranging

from 1 to 14, which he called Top Notes; thoae with coefficients ranging from 15 to 60

Middle Notes); and those from 61 to 100. which he termed Basic Notes or Fixers Thus

we find, among the top note constituents, such items as:

amyl acetate amyl salicylate

methyl benzoate petitgrain oil

lime oil. Distilled bergamot oil

lavender oil methyl octin carbonate.

Bulgarian roue otto, with a coefficient of 15. narrowly evades inclusion in the

top notes, whereas rose de mai absolute has a middle note coefficient of 43. Jasmin

absolute is well among the middle notea, also with a coefficient of 43, but decolorized

and other jaamina are included among the basic notea with coefficienta of 70 and 90.

Other middle notes include:

Heliotropin indole

phenylethyi iaobutyratc dimethyl hydroquinone

clary sage oil anisic alcohol

angelica aeed oil citral

The baaic notea begin with amyl phenyiacetate and natural cinnamic alcohol

proceeding through such itema aa methyl naphthyi ketone, civet absolute,

hydroxycitronellal and cyclamen aldehyde to a long list of resins, balsams and

crystalline materials Icoumarm, vanillin, artificial musks); aldehydes (amyl cinnamic,

methyl nonyl acetic, phenyl acetic), all rated at 100, together with ambergris, castoreum.

patchouli, pepper, sandalwood and vetivert.

These subdivisions are useful and enhance the value of the list as a source of

general reference. They do not. however, supply a ready answer to the questions: 'What

is a top note? What ia a fixative?’ Aa Poucher himself has haatened to observe, there are

occasion* when longei -lasting odoranta are uaed in such a quantity as to raise them

temporarily into a Inkier category. He in fact illustrates this point by giving two

simplified but characteristic formulae for a Lilac and a Hyacinth perfume respectively.

Among other features, the former contains 1 per cent of a 10 per cent dilution of

phenylacetic aldehyde while the latter contain a 10 per cent of the pure, undiluted

aldehyde. There ia no doubt that this aldehyde acts aa a top now, despite its persatstent

character, when it is utilised in a dominant proportion.

When we compare the results arrived at subjectively by different authors, we are

apt to find a number of discrepancies indicative of differences in opinion, but in general

there is a broad area of agreement. This will be seen from Tables I and 2, taken

respectively from the published work of Kilmer and Carlea.

Table 1. Odour Persistence of Perfumery Materials (EJliocr|

Top tiCU* MidifiV Rate ?fc*d*

Unhvl salicvhtr iVtitKrain nil. htr.iKiiav $tynx oil

Ann! iiirlalr (Vninium oil. Ifcnittoin Un-.iKf nilBenzyl cimiamale oil Btoraiuponr oilji. Mril !>| u*viojilirji»iiir nuiiamoti oil Ptniy la trfakkt|.uSciJill oil CfenmeUol Sonlakood oilAniw oil Neivl &tlil»l»lBorftcofc Mrlliyl .•uiilir.it liUir VanillinTerpinrol Aldehyde CO Rcwniwi} nilMnalyl acetate Methyl lieptln eaitoomte CuMlnfc akktiwleliomvl acetate Angel*'u root oilAniwMelnilc EuteoolI-OIMI Oil Cfironella oil. Javalitrgainnt oil OrarikilI’lu iislcilr.l ulixrfiol Amyl solfcyfelc

Surt oil Oen*rnl fixm^tr Clary jn#r oil

CkinOflUc aldehyde RMchoul

oil CUiiuimk* iilroliol

Table 2. Classification according to Volatility (Carle*)

Top N«cs> Uodifto* fiase AtoC**

Very ivtfafiV? products of tose notes (i e ) iptoducxi o) \TMlacAmp tetuxityr products 0/ inter- Mteftltfy and

rc«iiare ratantey and tenaatyfuph tenacity/

Am>l Mirlalr BftftU Met 1*1 laMrXK-'Ioocnintliott <Je Rose Tefptncol Absolute Orange VYJKtxLinsliKil IWiigfiiiik. I*jiijijjiijiv f!Ul> HHgrPhrnylethji acetate Galbomim Ann I nbcvtateUnion Verbena Absolute JasminLwinler Thyme Benzyl salicylateiicrgurnot Oeroxivl mutate CedAiwoodOniiW' Juniper AMehydc C.I6Coriander Tansy Aldehyde C.1H7jiru<p*i I'lirnyHliyl ih-WkiI Sjii »Im|h \y.v\Laurel no bills Oenanki) Artittrul MusksI'ctitgfuln from Absolutc LuwrrtfT Absolute Oakum**ll»r U*ukiii lire Citnurllal Velher andetc. Xeroll derivatives

R»w Hulgtriui pKtclVHlliViang CdeiyOrrariiiim Aldehydes C.8.

C.9. C.II, C.12 Ctovts etc.

etc.

Ellmera’s classification Appoint to have been the first of it kind to be published.

His result# match fairly closely those subsequently obtained by other perfumer®,

although few will agree with his remarkably high persistence values for roBcmai)* oil

and cuminic aldehyde: nor does he appear to have given sufficient attention to the basic

notes as a class. Jean Carles, on the other hand, seems to have over emphasised the

importance of the basic notes, when he writes that they ‘will nerve to determine the

chief chaiacteristic of the perfume. |foi) their scent will last hours on end and will be

essentially responsible for the success of the perfume, if any*. It must be remembered,

however, that Carles was attempting for the benefit of his students to simplify a rather

complicated subject, and in this respect was justifiably endeavouring to correct the error

- all too common among beginners in the art of perfumery - of paying attention Almost

solely to the top notes or notes (le deptirt. In the same way he deliberately over-

simplified the structure of a perfume by considering it almost as a definite, neatly

defined architectural entity instead of a dynamic, changing, imbricated composition, not

merely existing in apace but simultaneously evolving and fluctuating in run.

The importance of the basic note or accord or group of accord cannot, of course,

be denied. Carles gives some extremely useful information on this point. Even so. one

must admit that there are few gcod perfumes, and certainly no characteristically modern

ones, that depend chiefly for their appeal and individuality upon those constituents

which have a low volatility and high tenacity. The three fundamental parts of a perfume

are, as Paul Jeancard suggested. the head, the body and the ba*e— but the relative size

and strength and general assembly and behaviour of these essential part* depend* upon

a number of interrelated factors. Possibly the aptest name ever to have been given a

perfume is Arp^ge, because an arpeggio effect, in which the notes of a chord are played

successively instead of simultaneously, is so admirably descriptive of perfume

behaviour.

Some perfumers speak of homogeneous and oscillating odours. Thus a world-famous

floral bouquet perfume oscillates between a homogeneous aocoixl consisting of a fresh

jasmin note (sustained by an aldehyde and bergamot oil etc., on the one Bide and. on the

other, a wanner lower chord composed of yiang-ylang blending into a residual note of

vanilla and incense.

The type of classification of odorants shown in Tables 1 and 2 is a most useful

guide and discipline but the fact must not be overlooked, when resorting to such

classifications, that the behaviour of some of the materials involved is more complex

than its mere position in a relative volatility table might indicate. This brings us back to

reconsider what exactly we mean when we talk about lop notes. Firstly, there are the

very volatile *true' top notes, such as may be found at the beginning of Toucher's and

similar tables: for example, ethyl and amyl acetates, ethyl aceto acetate, methyl amyl

ketone, phenylethyl acetate, linalool, and the citrus terpenes. There are also many

relatively non-volatile odorants which, in addition to their long-lasting character, have

also pronounced top note effects. In this group may be cited, as common examples:

musk ambrette (as distinct from the ketone or xylol), the macrocyclic musks, ethyl

vanillin, methyl nonyl acetaldehyde, gamma undecalactone, and Fixateur '104. It will be

seen that all these have penetrating odours and it is perhaps this penetrating or piercing

quality (as Henri Robert has termed it) rather than mere pungency which also gives the

Middle Note cdorant, indole, the emergent force and character of a top note.

Though complex, essential oils are also capable of being assessed on the basis of

relative volatility and must therefore be included in such comparative tables.

The practical value of a chart showing odorants grouped according to their

relative volatilities in that it can serve aa a guide to formulation and a* a fertile source of

suggestion. Thu*, aa Pouches' observe#, a perfumer beginning work on a Lilac perfume

can quite simply extract from the complete chart a number of odorants |in this case as

few as nine) which will give him the foundation of his perfume. These he will subdivide

into the three main categories. Thus he quickly arrives at a Top note section comprising

benzyl acetate, terpineol and phenylethyl alcohol; a Middle note action consisting of

hcliotropin and aniaic aldehyde; and a Basic section containing cinnamic alcohol,

hydroxycitronellal, isoeugenol and phenylacetic aldehyde. He will then proceed in the

usual way. comparing his perfume, from time to time, with the natural flowers that he is

trying to imitate or with some other lilac perfume that he aims at copying. At this atage

he will doubtleaa think of other odorants, in order to improve the natural character of his

experimental blend, to ahade the odour into Pink Lilac or some other specific type, or to

convert the floral base into a more sophisticated blend rather than a simple floral

composition. And in many instances reference to the chart can provide useful stimuli

even, for example land here Carles emphasises the same technique), by offering

information enabling new accords to be elaborated.

Henri Robert, chief perfumer and technical manager of the Chanel, Bourjoia and

Barbara Gould organisation, has published An extremely interesting classification of

odours, which combines the grouping of odours as such (e.g. Lilac-Muguel: the

Cinnamic Group, Spicy Odours and Rosy Odours) with the arrangement of the

respective odorants or groups of odorants in declining order of volatility, starting off

with Sharp, Fruity and Lifting groups and ending up with Vanilla, Ambergris and

Animal odours. He adds: 1 have long employed a classification of my own, based like

those of Cerbelaud and Billot on odour affinities. The eighteen groups themselves

follow an order that I have tried |not very successfully, perhaps) to render logical and

which observes, m pnnciple, the idea of volatility, declining from top notes to base

notes.'

The enthusiasm shown by Poucher. Carles and many other perfumers is shared

by Henri Robert, who adds: 'Each may have his own classification but I believe it

indispensable to use one of Perfumes and Flarcurs Technoteg/ Hardbxh them if it is

desired to work quickly, properly and lucidly. Nothing should be neglected that can

liberate us from useless labour and leave us more time for that meditation dunng which

the creation of a perfume is really accomplished.'

As we have seen, the perfumer tends to think of his materials in terms of relative

volatility/persistence, but any such classification, whether stored in the memory or set

down on paper, is subject all the time to provisos relating to the other qualities of the

odorant. The Soviet perfumer, Makarov-Zemlyanski, advocates for example the

adoption of a further classification based on relative intensity of odour. He writes: The

persistence of perfumes depends on the coefficient of useful work. i.e. the nature of the

evaporation and the value of the threshold concentration. This suability increases with

the coefficient of useful work and with reduction in the threshold concentration. These

questions, i.e. the change in the rate of evaporation and the proper use of threshold

concentration values should be carefully studied by perfumers and research institutes.

Unfortunately the margin of subjective error is even wider here than in the assessment of

relative volatility and persistence. At times it is so enormously wide as to represent an

obstacle which is simply not negotiable. The threshold value of perception of an odorant

is that at which its odour, in given conditions, is only just perceptible, so that further

dilution causes it to disappear. The threshold of recognition is obviously somewhat

higher in each case. Paul Laffort, in his 'Essai de Standardisation des Seuils Olfactifs

Humains pour 192 Corps Purs’, points out that most of the marked differences observed

in the published threshold values depend upon such factors as the atmospheric,

mechanical and physical conditions operative during the tests, the sensitivity of those

making the tests, and even the manner of expressing the results. McCartney has

suggested that the reason for some threshold values obtained with dogs by Ashton and

co-workers being ten million times greater than comparable values previously obtained

by Neuhaus and Buytendijk was probably the much lower degree of precision of the

method used by the British workers In this respect the astonishingly high threshold value

given by Skramlik for iso-amyl acetate, and repeated by Makarov- Zemlyanski and

others, has frequently surprised perfumers—one of whom may be quoted as typical.

'Makarov ZemlyansUi'. he writes, 'provides threshold concentrations in his Table 2

which indicate that whereas only minute quantities of peppermint, juniper, cedarwood,

caraway, lemon and rosemary oils are required for odour perception, one has to use a

relatively enormous quantity of iso-amyl acetate. In fact these figures, attributed to

Skramlik. would seem to show that ethyl alcohol has nearly four times the odour

intensity of isoamyl acetate. 1 can hardly believe that this is true.

Although several lists have been published of odorants arranged according to

their relative odour intensities, they have been limited in scope And insufficiently

reliable for general Acceptance. This matter of odour strength, like that of most other

aspect® of odorant behaviour (eg. diffusiveness), is one that the practicing perfumer is

obliged to take into account and deal with in the light of his own experience. In many

cases he will have to proceed on trial and error lines, as so aptly illustrated by Carl

Mann, when he speaks of using a newly introduced 'ambergris chemical’, of what At

first seemed to be medium odour strength, in 0.4 per cent of a perfume concentrate,

winch was itself used in the finished toilet water at a strength of 3 per cent The initial

assessment of intensity proved, however, to be very wide of the mark and, as a result of

complaints from users, the optimum proportion in the concentrate had Lo be reduced to

0.00b per cent. At this very low concentration it proved extremely effective.

Problems of volatility odour intensity, threshold values and odour tonality have

been interestingly and usefully discussed by Louis Appell. Reference may also be made

to some other publications dealing with the comparative volatilities of perfumery

materials. A classification of odorants according to their behaviour on the skin was

published in 19S9. Such aspects as the lift, body, volume and dispersive property, Le.

the 'perfumed wake* effect, of perfumes and perfumery materiAls need perhaps to be

mentioned here but are not susceptible to dAssificAtion.

Prom classifications based on physical characteristics we turn to those based on

similarity of odour. The first of these to merit lecording is the classic 18-gioup

classification made by Huiunel:

Rose rose Lemony lemon

Jasmin jasmin Herbaceous lavender

Orange oi Angeflower Minty menthol

Tuberose tuberose Anisic aniseed

Violet violet Almondy bitter almond

Balsamic vanilla Musky musk

Spicy cinnamon Ambered Ambergris

Caryophyllaceous clove Fxuity fruit

Camphored camphor Santalaceous sandalwood

Many perfumers, using this as a model, have devised similar classifications. It is

curious to note that the modern arrangement by Henri Robert, though much more subtle

than Rimmel's pioneer essay, also involves exactly eighteen groups. The ambitious

scheme published by Cerbelaud runs to 45 groups, but perhaps the mo#t commendable

feature of Cerbelaud'* work is that it suggests for each group bridging links (‘Points

Comxnunsl with other groups Thus Group 7. True Rose Odours, is said to have

something in common with the Jasmin, Orangeflower. Tuberose* Narcissus, Geranium-

Rose and Green Rose groups and with Cinnamic Odours, Fruity Odours (through traces

of strawberry, raspberry and peach in certain types of rose| and, finally, with Honey

Odours.

As a contributor to the Givaudan Index truly says any system of odour

clarification is, in the last analysis, personal and subjective. So we need feel no qualms

about ignoring some of Cerbelaud's suggestions; others, at least remain valid and

valuable.

Arctander has as many as 88 groups in his catalogue of *natural perfumery

materials arranged according to odour, type and suggested use* and his scheme, too,

contains cross-references. His Rose Group, unlike that of Cerbelaud, contain* only lhree

natural materials - beeswax absolute, rose absolute and rose oil, and no cross-references

On the other hand his Tuberose Group contains gardenia, longoza. mimusops elengi.

plumeria and tuberose, and indicates such related groups as the Balsamic-Rocal and

Jasmin, as well as neroli and vanilla.

The fact that all these classifications are the result of subjective impressions is,

as one might expect, more evident in the occasional differences than in the numerous

agreements and similarities. A study of these differences can prove stimulating.

Cerbelaud, for example, includes spearmint and pennyroyal among his Menthol odours

and cross-refers in this section to buchu oil and oils containing cineole. Carles' Mint

notes comprise peppermint, spearmint, pennyroyal and marjoram. Arctander’s

Peppermint Group contains simply peppermint and mentha arvensis, and has no cross-

references. Spearmint is, quite understandably, included in the Caraway Group, and is

crosa- lefened to other groups which contain dill weed, eucalyptus and parsley seed oils.

Reference may be made in passing to somewhat similar odour group

classifications devised by Maurer, Bom and and a number of well known supply houses.

E.S. Maurer prepared many such classifications but the one to which reference is made

here is notable, perhaps, for the author's grouping of cassia, clove, patchouli and almond

as typical Spicy odours; lavandin, spearmint, thyme and verbena as Fresh odours; and

cedarwood, sandalwood, vetiver and cumin as Woody odours. Not everyone would

Agree with these impreaaiona.

The Verley and du Pont classifications are short, simple and very similar to each

other, although the du Pont aeries suggest also various sub-group*, cassie and mimosa

being given for example as sub-groups of the primary Violet group, and gardenia, sweet

pea. honeysuckle and orange blossom as sub-sections of the Jasmin group. The Bornand

classification contains 32 categories ranging from Ambered and Balsamic odours to

Trefle and Orchid, Tuberose and Violet, and covering some 34 pages. Under each

heading one finda liata of natural and synthetic odoranta subdivided into Basic

Constituents, Natural Baa*s and Accessory or Modifying Products.

The Givaudan Index of Odour Types contains over forty groups of floral and

classic odours, arranged alphabetically from Acacia. Carnation and Cassie to Violet.

Wallflower and Ylang-Ylang, and also including Amber, Chypre and other items which

are not eaaentially floral.

In 1948 Billot first published his Classification des Odeurs, in which known

odours were divided into eight main groups. Since then the classification, which waa

elaborated by its author in dose association with the Groupernent Technique de la

Parfumerie which later became the Societe Technique des Parfumeurs de France| has

remained unchanged, except for its extension to nine and then to ten groups or families.

The classification approved by Marcel Biliot himself is as follows:

Classification of Odours by Xf. Rillot Floral Woody

Rustic (agreste)

Balsamic

Fruity

Animal

Empyreurnalic

Repulsive

Edibie

The last two groups, repulsive and edible, have in principle little or no

application in perfumery, but they have been included in tin attempt to provide a

classification compnsing all kinds of odours. The subdivision in each senes into different

notes gives the following table:

1. Florul Seritrs

a. Rosaceous (rose)

b. Jasmin-like (jasmin)

c. Hyacinthme (hyacinth)

d Lilac-like (lilacl

e. Orangeflower)’ (orange blossom)

f. Tuberose-like (tuberose)

S Violet-like (violet)

h. Resedaceou* (mignonettel

2 Woody Senes

a. Spiuce-Kir (pepper)

b Santalaceou* (eandalwood)

c. Caiyophyllaoeou# (clove)

3. Rustic Series

A. Menthol (p*pp*rmint|

b. Camphoraceou* (rosemaiy)

c. Herbaceous (lavender)

d. Green (violet leave)

e. Lichenoua (earthy odours, oakmoas)

f. Leguminous (methyl heptenone)

4. Balsamic Series

a. Vanilla-like (vanilla)

b. Olibanaceous (incense, balsams|

c. Galbanaceous (galbanum)

d. Resinous (pine resin)

5. Fruity Series

a. Hesperidean (bergamut)

b. Aldehydic (fatty aldehydes)

c. Almond-like (bitter almond)

d. Anisic (aniseed)

e. Fruity types (peach, plum, strawberry)

f. Chocolate, cocoa

6. Animal Series

I Musky (muskl

II Castoreurn (caaloreum, leather)

III Skatolish (civet)

IV Maritime (seaweedl

V Amb«r«d (ambergris)

7. Bmpyreumatic Series

a. Smoky (birch tar)

b. Tobacoo-like |tobacoo|

8. tfcpuJsTi*? Series

a. Caseinous (cheese)

b. Alliaceous (garlic)

c. Fishy (fish)

d. Stagnant

e. Butyric (rancidity)

f. Mircinian (mud)

g. Musty

h. Pyndinic

i. Mercaptan

j. Carbylamme

9. Edibic Scncs

k. Buttery note |fresh butter; diacetyil

1. Broth

The author adds:

1. This classification has been arrived at by taking into account the fact that

formerly perfumers with five or six floral and some other notes, all natural,

managed to reproduce all the other flower or other notes, rather like using the

three primaiy colours where, by mixing them, almost all the others can be

repioduced.

2. The categories of notes have been kept to a minimum and the analogy of odour

has been used in its wideat sense

3. Some auipnae may be felt at the inclusion of the aldehyde# in the fruity senea.

This ic the reason: certain aldehydes hav'e indeed an odour similar to that of

fruit; others have a very distant resemblance to fruit, but the special part they

play in compositions generally relates them to the other notes of the fruity series.

4. Although the repulsive and edible series may appear useless in perfumery, it is

possible that for imparting a certain nuance some items (like dimethyl and

dibutyl sulphides) might be found quite interesting in a very small dosage.

Billots further observations on analogy help to explain the value and scope or

dassifications, at the point where the perfumer begins to consider what odour

characteristics certain odorants have or do not have in common with other odoiants

Over 150 flavour chemicals and essential oils have been grouped under Products

of Sweet. Bitter-Sweet and Bitter Flavour by D.N. Burton. Arctander has grouped

together nearly one hundred flavour chemicals under the headings of Acids. Bitter

Flavours, Celery Aroma Chemicals, Pood Flavour Enhancers and Food Sweeteners.

Against an accusation that all current systems of odour classification are invalid,

Paul Lauffer has said, 'I think that we should not be discouraged because we cannot

define the limits of any class of odour; that is. if we set up a class of flowery odours and

there is not considerable agreement on exactly where flowery stops or some other class

begins. I don\ think that this means that the classification is not valid at all.' We agree

even though some odours are obviously classifiable in more than one group. Thus an

essential oil with a predominantly woody odour can also be balsamic, spicy or even

fatty. And a dominantly fruity odour may also be floral, spicy or even animal in quality.

Nevertheless, when dealing with odorants and mixtures of odorants one is bound

to think of them in relation to one another; hence the necessity to proceed by analogy

and thus, for the sake of convenience and clarity, to classify them according to their

degree of similarity or some other significant characteristic.

2

FLOWER PERFUMES

Not so long Ago it was fashionable in some circles to decry flower perfumes.

Why, it was asked, should a woman want to smell of flowers? The exclusion of flower

perfumes from perfumery has been taking place over a long period . . . The flower

perfume is dead,'. His subsequent observations, however, tended to modify this initial

impression, because he went on to praise 'some forgotten garden scents', gave

suggestions for their formulation, and recommended their potential use as background

odours in more sophisticated fantasy perfumes.

Despite any extravagant statements to the contrary, flowers and their perfumes

are still of very considerable and even basic importance to the perfumer. In the first

place they are a stimulus, a point of reference, and a source of pleasure and invaluable

information. In the second, some of them are still irreplaceable raw materials, despite

any disadvantage that may attach to them in respect of scarcity or cost. And, in the third

place, many flower notes or floral accords form part of the essential structure of even the

most advanced and up-to-date fantasy perfumes. The fashionable woman may not wish

to smell like a flower, but neither is she improved by smelling like a crude mixture of

synthetic chemicals, or like a civet cat. a musk deer or a dish of overripe peaches. The

finished perfume is, after all, a balanced blend of rather widely different odorants, and in

it the floral note still plays a vital and even a dominant part.

We shall be giving in this chapter, for each flower mentioned, a list of

Constituents used in its reproduction, including some that may *>e thought of as tricks-

of-the-trade, although the main object will always be to approach the true note of each

flower. Secondly, we shall give one, two or more complete formulae, by way of

illustration. Here it is necessary to point out that such formulae can only be considered

as the Bum of the actual materials used in preparing them in the first place; and that

subsequent reproduction must involve olfactory adjustments in order to give the desired

result.

We shall start with the more familiar perfumes based on flower notes.

ROSE

Rose notes vaiy considerably one from another. In addition to the basic

components mentioned below under Red Rose, Damascene Rose and Centifoba Rose,

we find some important auxiliary notes in the naturally occurring esters, as well as in a

few aldehydes and acetals. Many other odorants also enter, in relatively small amounts

but with significant effect, into the composition of specialised rose notes, e.g. those of

the tea rose.

Red Rose. This is usually considered to be the truest and finest type of rose

odour. Its main constituents are rhodinol, phenylethyl alcohol, alpha-ionone and the very

useful nerol. A more flowery effect is obtained by the addition of rose absolute and

Bulgarian otto. Bulgarian geranium oil can, when obtainable, impart a much-appreciated

green note.

Rose damascena Among natural essential oils this is represented by Bulgarian rose. The

basis of this odour is given by rhodinol. phenylethyl alcohol, geraniol ex palmarosa oil.

and cinnamic alcohol; always in association with certain natural essentia] oils and esters.

Rose cenlifoha. The main constituents here are citronellol, geraniol, phenylethyl alcohol

and rhodinol, together with smaller amounts of adjuncts which give it a slightly sharp

note, such as C, aldehyde, citral, etc.

Tea Rose. The basic components are citronellol, phenylethyl alcohol and

geraniol. The accessories that impart its special character include guaiyl acetate,

menthone and tuberose absolute.

Rose Marechal NicL In nature this is a yellow rose with a very special perfume.

Basically one uses geraniol ex palmarosa oil, citronellol and synthetic geraniol. in

association with isoeugenol, benzoin arid sandalwood oil etc.

White Rose. Here the ba*e is rhodinol, phenyl ethyl alcohol, benzyl alcohol and

bnalool (to give it the slightly acidulated note by which it is identified). The blend is

rounded off with a little bergamot, phenylethyl acetate, etc.

In all matters relating to rose perfumes one has to take into consideration the part

played by Bulgarian Rose. This note is often required but unfortunately the widespread

use of Bulgarian oil of rose in its pure state ia limited by considerations of cost. This

necessitates research into compositions i.e. diluents or extenders, and these must be the

best possible for the purpose. By using certain raw material** judiciously one can in fact

arrive at some very interesting extender* which will blend well with the natural oil.

giving an excellent quality of end product at a reasonable price The raw materials in

question are relatively few in number. One thinks of: phenylethyl alcohol, oil of

geranium such as the Geranium incolore de Grasse, geraniol, rhodinol. I citronellol; and

very small quantities of nerol and farnesol.

A formula is given below. This is a convenient point to emphasise that no

formula can be better than the type and quality of its individual constituents. It is

therefore essential for perfumers to make their own trial* and adjust their final formulae

accordingly.

Some readers may be surprised to note the recurrence in certain of these

formulae of branded specialities, usually made by some of the leading supply houses.

We make no apologies for these inclusions, because they are in fact justified. Some are

used because they contain new synthetic bodies that are not obtainable on the market in

the pure state, while others are the result of the highly skilled blending of standard

ingredients that it would be extremely difficult and time-consuming to copy.

Rose Extender I

Geraniol ex palmares*. 1st quality 1.50

Oil of Orasse Geranium, incofor* 0.50

Phenylethyl alcohol 2.50

linalool ex boia de rose, 1st quality Brazilian 1.20

Rhodinol ex geranium oil 1.20

1 –Citronellol 3.00

Nerol, pure 0.07

Farnesol, pure 0.03

10.00

Parts by weight. All constituents of the finest available quality. With the aid of

this ‘extender’, such blends may be made as the following:

Rose No. I

Rose Bulgarian 75

Rose Extender 1 25

Rose No. 2

Rose Bulgarian 50

Bulgarian absolute oil of rose 4

Ros Extender 1 46

Rose No. 3

Rose Bulgarian 25

Bulgarian rose absolute 3

Rose Extender 1 72

In this way one has at hand three different rose formulae, all of a tonality

approaching that of the Bulgarian Roo-e but each at a different price level. Formulation

over a reasonably wide price range is thus facilitated.

Some formulae of actual rose perfumes follow. The first, called simply P

because that happens to be its reference in one's notebooks, is simple and

straightforward but has great strength and marked diffusive prop^nies.

Rose F

Rhodinol, 40

lonone alpha 23

Rose No.2 (as above) 6

Phenylethyl alcohol 12

Bois de rose Brazil 12

Rose de Orasse absolute 6.3

Jasmin absolute 0.5

Menthane trace

100

Rose H

Rhodinol, 1st quality 10

Phenylethyl alcohol 20

Cinnamic alcohol 6

Geraniol 20

Citronellol 10

Linalool 6

Hydroxycitronellal 5

Linalyl acetate 4

Eugenol 4

Rose de Grasse absolute 4

Geranium (African! oil 10

Phenylethyl acetate 1

100

Rose Rouge

Violeuone A 18Rose No. 1 4.5Roue de Or&ss* absolute 13Phenylacetic acid 0.4Loren* |Pirmenich| 4.5Phenylethyl alcohol 9.6Rhodinol 50

100Rose BlancheRost* No. 1 13.50Sandalwood oil 6.30Patchouli oil 6.30Tuberose No. 1 5.50Tuber euse |Synarome| 5

Orris resinoid 5Jaamonia (Givaudan) 3.50

Benzyl acetate 2Geraniol synth. pure 12

Lorena {Firmenich} 9Phenylethyl alcohol 11Iraldeine 100% (de Loire) 9Rhodinol P (Rhone* Poulenc| 11.50Aldehyde C9 0.10Aldehyde CIO 0.15Aldehyde C. 12 flauhc) 0.15

100.00Rose• MSRose M 390Rhodinol P (Rhone-Poulenc| 110Geraniol synth., checn. pure 16Rhodinol (with traces of menthone) 45Phenylethyl alcohol 150Geranium Bourbon 5Hydroxy citronellal 15

Cinnamic alcohol 7.50

Irakteine 100 % |d« Laire| 26.50

Iralia B 3.50

Sandalwood Oil 9

Loiena (n«rol| 100

Boi* do Rhode* (UOP) 1

Diphenyl oxide 5

Aromel (OivAudAnl 1

GuaiAC wood oil 14.50

GerAnyl acetate 2

Phenylethyl AcetAte 2

Rhodinol acetate 9

Citron oily] formate 14.50

Geranyl formate 5

Rhodinyl formate 4.50

Phenylacetic aldehyde 50 % 10

Verbenol 15

Musk ketone 39

1000.00

Where specialities are cited under the names of specific furns, this simply means

that no one firm makes and offers exactly the same end product aa the others. In each

case one must take into account the fact that chemicals included in a process) as trAce

impurities Are not likely to be pre*ent in exactly the same pattern or proportions in a

competitive product.

Examples of special shades of odour even among standard chemicals are

provided, for example, by Givaudan's Laurine, which is a hydroxycitronellal with a note

of its own - often in great demand and Lorena of Pirmenich, which though a nerol. is yet

distinguishable from other nerols.

A footnote to rose compounding: modem perfumery now also makes use, with

restraint, of rose oxide.

JASMIN

Rose and jasmin are still the moat important flower notes used in perfumery.

Singly or together, they provide a conventional floral background for a great diversity of

perfumes). Oil of jasmin has been the subject of much analytical research and, on thi*

basis.

It 15 possible lo devise a wide range of formulae for 'jasmin artificial'. Among

the basic components one may note benzyl acetate, amyl and hexyl cinnamic aldehydes;

benzyl alcohol, formate, salicylate and other esters; indole and derivatives; phenylethyl

alcohol, dimethyl benzyl carbinyl acetate, Itydroxycitronellal, linalool, linalyl acetate;

eater#* of propionic and butyric add*; Peru balsam etc. To sweeten formulae for

artificial asmins that may be somewhat crude and synthetic, use can be made of jasmin

absolute chassis, which is the absolute obtained by petroleum ether or benzene

extraction from jasmin flowers that have previously been treated by the enfleurage

process but which have nevertheless retained some of their perfume. This must not be

confused with the actual absolute of jaamin d'enfleurage.

It is a principle in fine perfumery’ that natural materials should be used to

sweeten and soften the odours of synthetic blend*. When costing considerations prevent

the more liberal u»e of 'naturals', the result of judiciously incorporating even small

quantities will usually prove conclusive.

Jasmin No. 1

Benzyl acetate, pure 28

ci-Amyl cinnamic aldehyde Prima IDescollonges) 20

Jasmin chassis absolute ex benzene (Schmoller

& Bompardji 10 % in benzyl benzoate 10

Benzyl propionate 4

Paracresyl isobutyrate 3.2

Dimethyl benzyl carbinyl acetate 1.6

Benzyl alcohol 9.2

Linalyl acetate 2

Methyl anthranilate 0.4

Isojasmone |Descollonges| 0.05

Bois de rose oil. Brazil 6

Geraniol (synth., chem. pure, Firmenich) 1.6

Iraldeine 100% (de Laire) 2

Allofloral (Allondon- Firmeriichl 6.75

YlAng-ylang oil 2.4

Indole, 10% 2.8

100.00

Jasrnonone No. 4

Benzyl alcohol extra 19

Phenylethyl alcohol 1

Jasmin absolute 2

Benzyl acetate, chem pure (BBA| 10

Castoreum absolute (Deacollonj»es) 10% 3.5

Narcissus absolute ICharabot) 1

A-Amyl cinnamic Aldehyde 20

Jasmin de Provence (Deacollonj»es) 30

Indole 10% 2

Linalyl AcetAte ex boia de rose 6

Linalool 3.65

pAi'Aeresol 10% 0.7

Isojasmone 10% 0.65

Bitter almond oil \Wo

Jasmononc No. 4a

0.5

100.00

Benzyl acetate 30

Benzyl alcohol 30

Benzyl propionate 5

Methyl anthranilate 2.5

Indole 10% 2.5

Linalyl acetate 5

Linalool 7.5

Buxine (Givaudan) 7.5

Ylang-ylang oil 10

100.0

This composition has a rather fresh note that facilitates its use in numerous

combinations, both with other jasmin components and in perfumes where a sharp and

fresh jasmin note* contributes to the overall odour.

Jasmin Base No. 5

Cinnamyl acetate 0.8

p. Cresy] isobutyrate 1.1

Methyl anthranilate 0.3

Benzyl alcohol 18

Benzyl acetate 18

Lirialool 4.6

Benzyl propionate 3.1

Terpmeol, pure 3.1

Amyl cinnAmic Aldehyde 15.3

Methyl euftenol 1.3

Lin Alyl Acetate 7.5

Raldeine D (CJivAudAnl 3.8

HydroxycitronelUl 3.1

p. X< ethyl methylsalieylAt* 1.5

p. Cresyl phenylacetate 0.7

Phcnylpropyl Aldehyde 2

Aldehyde C. 10 0.15

Indole 0.45

Tolu tincture 15

100.00

This base may be improved, as in the following formula (5a|.

Jasmin Base No. 5a

Jasmin Base No. 5 70

Jasmin dEspagne (Givaudan) 13

Jasmin Frutal (Polak's Frutal Works 13

Jasmin chassis absolute ex benzene (Schmoller & Bompard) 4

100

ORANGE FLOWER AND ZVBROLI

Perfumer* will be well aw Aie of the difference* that exist between these two

closely related odour®. Both are frequently used, and it could even be said that there are

relatively few compositions into which the orange flower note does not enter. Neroli is

particularly valuable in eau de Cologne and related notes. Here are some examples.

Orange flower A

Linalyl acetate 7.1

Petitgrain oil. terpeneless 33.4

Flonol 160 (de Laire) 14.3

Ftoaer Perfjmes 25Indole 10% 4.7

Eugenol 2.2

Geraniol synthetic 5.6

Geranyl acetate 3.7

Broutt absolute JRobertet) 19

Ylang-yl^ng oil 1.2

Phenylethyl alcohol 4.7

LentUqu* (Mast»c| oil 0.8

Methyl anthranilate 2.4

Citral 0.9

100.0

Neroli A

Petitgrain oil pays (Grasae) 31.5

Methyl anthranilate 25

Rugenol 18.5

Geraniol 6

Phenylethyl alcohol 4.25

Linaiyi acetate 7.3

Indole 10% 4.7

Aldehyde C.8 10% 2.75

100.00This is a useful type of formula for blending with natural neroli, in oertain

applications, as a diluent. A suggested proportion ift 1 part of natural neroli oil to 2 part*

of Neroli A.

In flower perfumes closely associated with the orangeblossom note, e.g.

honeysuckle, *yringa (Philadelphia* ooroftAfiu*), gardenia And narcissus, the fruity

note of Apricot is often pi*aent and (should always be borne in mind

VIOLET

The classic note of violet was adored by ladies at the turn of the century. Two

apecies of the flower should be distinguished. The simple Violet (Nice or Toulous*)

may be based on a blend of methyl ionone, alpha ionone, orris absolute or resinoid,

violet leaf absolute and phenylethyl alcohol. A floral note, projected as it were by a trace

of MNA aldehyde, is imparted by jasmin or cassie. The double or Parma violet is based

on varying proportions of beta ionone, alpha ionone and methyl ionone, together with

orris retnnoid or concrete. a little phenylethyl alcohol, methyl octin carbonate, a trace of

vetiver, and a email quantity of hydroxycitronellal and even, sometimes, bergamot. Very

small amounts of violet leaf absolute may be included, but the green leafy note of Parma

violets is much le*s aoeentuated. Por imparting the necessa/y sweetness to the ba*e of

Parma violet, use may be made of a ptum or mirwbelle note.

It is difficult to ftive a violet perfume the thrust’ required by modern perfumes.

An interesting result has been obtained, however, with a very fresh lily-of-the-valley

composition, used in just sufficient quantity to impart an exuberant freshness but not

enough to impair the basic violet note.

Wood violets, with their rather earthy background, may be simulated by the

inclusion of very small quantities of a pure grade of amyl acetate, which helps to

provide the odour of damp earth And humus Other humus notes may be similarly

employed.

Violet No. I

lonone alpha 10

Iralia (Pirmenich) 10

Irison# extra (Oivaudan) 10

Jasmin No. 2 20

Ysminia {Pirmcnich) 5

Jasmonia (Givaudan) 2

Violet leaf absolute 2

Orris absolute or Irophore (Firmenich| 1.1

Ylang ylang oil 1

Ylang ylang absolute 0.6

Cassie absolute 0.55

Rose No. 1 0.1

Neroli oil 0.06

Phenylethyi alcohol 1

Bitter orange oil 0.6

Oakmoss absolute (Robertet| 0.16

Folione (Givaudan) 0.03

Linalool 0.5

Bois de rose Brazil 3

Cinnamylal (Givaudan) 4.5

Heliotropm 2

Muck ainbrette 0.1

Musk ketone 0.3Vanillin 0.2Civet tincture 16.5

Peru balsam tincture 8.3100.00

Violet AV>. 2Violet No- 1 60Irisone Beta (Givaudan) 6Iralia (Pirmenich} 10Cetone V (allyl ionone, OivAudan) 9Ylang ylang absolute 4lrophore (Pirmenich) 1.6Violet leaf absolute 2.6Cas&ie absolute 0.8Mimosa absolute 1.3Jasmin absolute 1.2Mirabelle (Firmenichl 1% 3.5

100.0

The absolute oil of Parma violets, which had a delightfulodour, is no longer an item of commerce. The following formulayields a product of fine odour which may be utilised as a‘reconstituted* absolute oil of Parma violet®.Parma Motets Absolute, Art.

Violet leaf absolute (Schmoller & Bompard| 1.8lrophore (Pirmenichl 4Violettone B extra fine 100% (Pirmenich) 4Parmanthene (Pirmenich) 0.2Benzyl benzoate 90

100.0

The basic formula that follows gives a product of fine quality, which can be used

in a multitude of different combinations in order to give effects approaching those of a

little violet bouquet. The delicate odour of earth and humus that is no often found in a

bunch of violet® can be given by Descollonges* Humu»col or by a mixture of amyl

salicylate and pure amyl acetate, etc.

Violet Base

Paracetone (Givaudan) 24

Beta-iso Methyl Tonone 32

Irisone extra incolore (Givaudan) 24

Beta methyl ionone 3

Boronia absolute 1

Ionone alpha 16

Violet leaf absolute 10

Orris absolute |Rohertet) 10

120

The concrete and absolute oils of Boronia, which contain ionone beta in its

natural state, are much sought after in violet compositions, where they sofcen any

harshness and add a tendency towards the Parma violet note.

Many other formulae for violet perfumes could be given but we feel that the

foregoing should suffice as a general indication to the practicing perfumer.

Lilac, lily-of-the-Valley, Carnation and Tuberose are also, like the fore-going

flower perfumes, widely used to ‘floralisc’ sophisticated perfume blend* It is

convenient, however, to ananfte them in alphabetical order rather than attempt to do so

on the basis of their relative importance.

ACACIA

This is not in fact a true acacia. althouRh the latter species is well represented in

perfumery as Ctt&Sie. The acacia perfume, which finds acceptance chiefly in wamer

climates, represents the fragrant and somewhat orangeflower-like odour of the tree.

Robinia pseudacacia. The basic odorants entering into its composition are; phenylethyl

alcohol, cinnamic alcohol, benzyl acetate, liydroxycitronella], methyl naphthyl ketone,

methyl anthranilate, linaloot, terpineol, anisic aldehyde ex anethole, and just a touch of

apneot

BROOM

Broom, genista or genet is a shrub very popular in the south of France and in

Spain; particularly in Catalonia, where the hills of Barcelona and the Tibidabo are

covered with rexama |the Catalan name for broom| at the approach of summer. Fragrant

varieties of broom are also found in the U.K. and elsewhere. From the p«rfurner>* point

of view, the base is one of orange blossom: methyl anthranilate. fleur d'oranger, etc..

associated with methyl paracresol, methyl acetophenone, anisaldehyde and Grasse

absolute of genet. Other constituents include alpha ionone,. terpineol, linalool, phenyl

ethyl alcohol, heliotropin, synthetic musk and olibanum.

CARHATIOH

From the perfumer's point of view there are three main types of carnation. The

carnation of Nice has a rather rosy, honeyed odour. The garden pink has a spicy odour

recalling cloves and pepper. The so-called sea pink (not to be confused with Armoria

maritima\ ha* the basic odour of carnation plus a note of phenylacetic aldehyde. In all

carnations there is a slightly resinous note suggesting olibanum and labdanum: hence the

use of such oleoresins as fixatives.

Oeitlet de JVice. Here the basis is a blend of eugenol. lsoeugenol and methyl

eugenol. in varying proportions, accompanied by phenylethyl alcohol, benzyl salicylate,

and sometimes amyl salicylate, vanilla, vanillin or ethyl vanillin. This base is sweetened

with rose notes from rhodinol or rose de Mai absolute, carnation absolute or concrete

and, above all, tuberose absolute. Unfortunately, as the latter has become very

expensive, it must usually be replaced - as by a blend of synthetic tuberose with the

natural material, or by a good ylang-ylang oil or ylang-ylang absolute. As aids to

fixation there are benzyl isoeugenol, heliotropin and so-called heliotropin amorphous |a

mixture of htliotropin, vanillin, Anisic and benzoic acids).

Garden Pink, known as Otnltex mignardisc, has a slightly more clove-like odour.

Hence the use of more eugenol and less isoeugenol in the base, together with a trace of

clove od. The vanilla base will preferably contain methyl vanillin (veratraldehyde). The

characteristic note is given by oalc of pimento, bay or black pepper.

Sea Pink. This small pink, which has a simple flower whose colour is actually

mauve, is found growing wild on dunes by the sea. Its strong odour may be imitated by

adding to a garden pink formula amyl salicylate, phenylacetic aldehyde and, if desired, a

trace of hyacinth absolute.

Carnation notes have a major role in all kinds of perfumery. Even so, they could

probably be exploited yet more fully in the field of masculine perfumes. A

straightforward carnation note could be used, in this way. instead of the all too familiar

spiced - Cologne complexes. Some formulae follow.

Base Clavetine No. I

Eugenol 51.35

Canan&M oil 25.7

YlAn^-ylang oil 2.55

Rose No. 2 5.6

Benzyl AcetAte 2.55

Orris absolute 4.25

Ceylon cinnamon oil 0.5

Nutmeg concrete 1.5

Nutmeg oil 1

Benzyl benzoate 3.45

Heliotropin 1.55

100.00

Base Claveline No. 2

Eugenol 61.5

Ylang ylang oil 4.6

Cananga oil 4

Rose No. 2 4.6

Cinnamic alcohol 16.7

Benzyl acetate 2.5

Vetiver oil, Java type 1.25

Nutmeg oil 0.65

Labdanum absolute |Lautier| 0.20

Heliotropin 4

100.00

Orillet de Nice No. 3

Base Claveline No. 2 55.9

Isoeugenol 13.9

Rhodinol 1.2

Pimento oil 1.3

Phenylelhyl alcohol 0.65

Ionone alpha 0.35

Tubero»e absolute synth. ISynarome) 2.5

Carnation absolute (Charabot) 5.9

Vanillin 139

Couroarin 3

Musk ketone 1

Musk ambrette 0.4

100.00

Co manor) Flowers No. 4

Base Clavelin* No. 2 18.3

Oeillet de Nice No. 3 3

Bugtnol 6

Isoeugenol 31

Ro»c No. 3 4.5

Bulgarian rose oil 4.5

Phenylethyi alcohol 9.5

Jaamoide 215 (Synartone) 0.6

Jonquil synth. (Roure-Dupont) 0.6

Terpeneleaa peticgrain oil 3

Methyl ionone 6

Bois de rose oil, Brazil 3.8

Jasmonis (Givaudan) 0.6

Amyl salicylate 0.4

Hydroxy citronellal 0.5

Phenylpropyl aldehyde 0.4

Benzyl benzoate 1

Ylang-ylang oil 1.5

Peru Balsam Clair (Lautier| 0.5

Vanillin 3.6

Musk ketone 0.5

Musk ambrette 0.2

100.0

‘OeiVei des Dunes Ato. 5

Eugenol 15

Base Clnvehne No. 2 15

Isoeugenol 10.9

Methyl ionone 6.7

Amyl salicylate 5

Jonquil synth. (Roure-Dupont| 0.65

Tuberose absolute synth. iSynardme) 0.35

Ylang-ylang oil 6.7

Bois de rose oil. Brazil 3.3

Phenylethyi alcohol 13.3

Rose No. 3 3.3

Neroli A 3.3

Waidia IKirmenich) 4

Phenylacetic aldehyde 3.3

jAsmonis (Givaudan) 0.65

Jasmin chassis absolute 0.65

Vanillin 0.6

Musk ketone 1.6

Anisic aldehyde 0.35

Benzyl benzoate 5

Heliotropin 0.35

100.00

CYCLAMEN

Many species of cyclamen ore scented, notably C. pcrscum and C. curopacTim.

The odour of the original small mauve flowers from the mountainous districts of

southern Europe is quite mild And may typically be given by cyclamen aldehyde. The

basic elements of cyclamen perfumes as a class are hydroxycitroriellal. linalool,

phenylethyi alcohol, terpineol, cinnamic alcohol, amyl cinnamic aldehyde, styrallyl

acetate, rhodinol. phenylacetic aldehyde, ionone, Lilial, Lyral • and. finally, the essential

cyclamen aldehyde and some of the classic ‘freshness’ components.

This perfume theme could, we feel, be subjected to some interesting variations

and thus result in novel and interesting compositions. Think, for example, of its

Association with a group containing cyclopentadecanolide, aldehyde MNA. incense and

vanilla Thu* type of association might well provide a very attractive ensemble. The

cyclamen odour and its possible derivatives have not yet. in our vieur. been fully

exploited - especially if the cumin note is one of the elements used in its formation.

FOUGBRS (TERN)

The fern or f&KQtre may be one of several thousand species, but in any case it

will rarely have an odour other than a mild and vague effluvium of humus, greenery and

earth. The perfumes known aa fern or fougere are entirely the creations of imaginative

perfumers. Most of them have a more or less pronounced note of verdure and moss. The

honour of creating the first Fougere went to Paul Parquet circa 1880. Fern perfumes are

nowadays divisible into two main groups (a) one baaed on the triad bergamot. Tonka

bean tincture or coumarin, and a product of muaky odour; and |b| the other, in which

bnalyl, terpinyl. geranyl and above all bomyl and i bo bomyl acetates, gjve a compound

of more or leas rustic or woodland character.

Figure No. I

Tree moss absolute 2

Bergamot oil 10.1

Lavender oil 10.1

Rhodinol 10.1

Rose M.S. 6.1

Patchouli oil 3.1

Geranium absolute incolore |Graaa*| 4.1

Methyl ionone 12.15

Cyclopentadecanolide 1

Pctitgrain oil, Paraguay 2

Coumarin 14.3

Muftk ketone 6.1

Heliotropin 6.1

Phenylethyi salicylate 3.1

Methyl aalicylatc 1

Eugenol 1

Jaamin No. 1 3.1

Clary sage oil 1.35

Amyl salicylate 2

Musk tincture 1

Tobacco (I.P.F.J 0.2

100.00

This is a formula of the category (a| type. See note above. The following belonga

to category (b).

Figure No. 2

Musk ketone 0.4

Patchouli oil 1

Vetiver oil. Java 1

Lavender oil, Mitcham type 6.3

Lavender absolute 1.6

Bergamot oil 35

Linalyl acetate 2.2

Ter piny 1 acetate 2

Coumarin 31.4

Cyclopentadecanolide 0.2

Tobacco O-P-P.) 0.2

Oakmo&s absolute, Yugoslav 0.8

Moua*e de Chene 1026 (Roure-Dupont| 0.2

Alliantone |Givaudan) 1.3

Allofloral (Pirmenich) 10% 0.2

Rose No. 3 4.3

Palmarose oil 1.1

Geranium oil 4.7

Neroli A 4.7

Myrtle oil 0.2

Cuir 1073 (Firmenich) 0.8

Bomyl acetate 0.2

100.0

When it is desired to impart a fruity note other than the classic peach, apricot,

pmne or mirabelle, one such note that can be extremely successful is strawberry, and

this has in fact been incorporated in the above formula.

GARDENIA

In the reproduction of the gardenia odour one uses several of the components of

tuberose, but gives more emphasis to the roselike tonalities. Thus in the first place

consideration is given to ytang, jasmin, benzyl salicylate, phenylethyi alcohol; An

orange blossom note, etc. Secondly, one turns to dimethyl bensyl ctubitiol, acetyl

isoeugenol, hydroxycitronellal, rose de mai absolute, benryl acetate, terpineol. etc. And.

above all. there is styrallyl acetate, which provides the peculiarly green and fmity note

of gardenia, and gamma nonyl lactone.

Apart from its general acceptance as a flower, gardenia has on important role in

perfumery. It contribute* fragrance to auch perfume » a» Millofg Crepe dc Chine. Abac

lute oil of gar drum has been produced and is, when available, a remarkable and

attractive product. Among the gardenia compounds introduced by the aynthetic chemical

houses, one of the beat and a contributory factor »Q some celebrated perfume* i»

Oivaudan's Gardenia 9058.

Gardenia So. I

StyiaNyl {methyl phenyl carbinyll acetate 5

Neroli D 2.5

teoeugenot 4

Rose dc Mai absolute 1

Ylang-ylang oil 7

Benzyl acetate 4

J asmin .absolute 1

Lilol (Oivaudml 6

lonone alpha 10

Hydroxy citronellal 20

Phenylethyl alcohol 8

Phenylacetic aldehyde 50% 1.5

CiuotwUol 4.5

Cinnamic alcohol ex styrax 7

Coumartn 2.5

Heliotropin 7.5

Crardfnid So 2

Musk ketone

100.0

2.5

Musk ojubretle 1

Jasmin de Provence R (Dcscollonges| 1

Jasmin absolute 1

Rose de Mai absolute 3.5

Jonquil absolute 1

Tuberose absolute 3

Gpopanax L.G. {Givaudan| 16.9

Muguet No. 2 10.2

Styrall.vl acetate 12

Hydroxy citronellal 15

Ylmg-ylang oil 5

Cinnamic alcohol ex styrax 2

Phenylethyi alcohol 2

Gardenia 9058 (Givaudanl 23.9

100.0

At current raw material price# it would obviously be essential to replace most of

the natural absolutes with the beat ‘artificials* available within costing limits. In the

case of tuberose we suggest the use of one of the compounds given under that name

lsewhere in this chapter, or a selected speciality such as Synarome's Tubereuse S,

for example.

Gardenia No. 1

Benzyl acetate 3.00

Bergamot oil 3.00

Jasmin absolute, artificial 6.00

Rose de mai, art. 2.00

Absolu Roae. Lot 1. Robertet 2.00

Muguet 33 |de Laire| 3.50

Amyl salicylate 3.50

Hydroxycitronellal 4.50

Ionone alpha 3.00

Dianthme (Firmenich| 1.50

Ylang-ylang oil 5.00

Methyl ionone 4.50

Styrallyl acetate 3.50

Wardia IFirmenich) 2.00

Aurantiol 1.00

Iris Liquid* (de Lau*| 1.50

Linalool 6.00

Vetiver oil 0.75

Patchouli oil 0.25

Civectone 0.15

Caatorcum Anhydrol (Givaudan) 0.25

Musk ketone 4.10

Musk ambrette 5.50

Coumarin 6.50

Ethyl vanillin 1.50

Liquidambar II Aldehyde C12 (lauric) 10% 2.50

CII (undecylenic) 10% 2.00

C10 2.00

Diethyl phthalate 17.00

100.00

HAWTHORN

The base of hawthorn perfumes is anisic aldehyde, in association with anisic

alcohol arid methyl acetophenoue. For middle notes one uses hydroxycitronellal,

cinnamic alcohol, citronellal, linalool and terpineol. The lower notes are provided by

heliotropin and coumarin.

The noted English horticulturist, Graham Thomas, listed 'Crataegus, all species'

(including of course the common may or hawthorn, C. oxyacantha) among thirty or so

flower scents that he considered \inauitable for aenaitive noaea’. The perfumer may here

and in similar cases improve on nature by ifcnorin** the methylamine or other off-notes

present in the actual flowers and create, as it were, an idealised version of the natural

floral odour

HELIOTROPE

The heady, delightful and charactcriatic perfume of the heliotrope \Hetiotropium

Peruvianum and other spp.| is duplicated chiefly with heliotropin and heliotropin

amorphous; the latter beinf: a mixture of heliotropin with vanillin, etc. With these are

associated benzoic and anisic acids, phenylethyi alcohol, ylang- ylang oil, rhodinol.

cinnamic alcohol, anisic aldehyde, benzal- dehyde (traces) and benzoin resinoid. A

synthetic of hazel nut odour, used discreetly, will help to give an impresaion of the real

flower. The sli&ht note of fcroenery is obtainable with an oakmosa or. better still, a

mi&nouette absolute or base Another useful constituent is paramethyl hydrocinnamic

aldehyde,

HONEYSUCKLE

The honeysuckles, Lonic#ra /ragro?wss\mat I brachy/>odat I CXiprijoUum and

other species, familiar also in the perfumery literature by their French name,

ctxevrefeuitle, are among the most fragrant of flowers. Their general odour, sweet and

diffusive but only slightly honeyed, can be simulated with such basic constituenta aa:

muguet, orange bloaaom, roae and jaamin odorants; cinnamic alcohol, phenylethyi

alcohol, terpineol, citronellol, linalool, hydroxycitronellal, paracresyl phenyl acetate and

anisic aldehyde. Small quantities of methyl cinnarnate. methyl naphthyl ketone,

phenylethyl acetate, isoeugenol, and yiang-ylang, enter into consideration. To ensure the

correct emphasis on the fruitiness of the natural flower odour, use may be made of an

apricot note. A trace of Rirmcnich'a Abricot Base 4512, for example, will 8etve this

purpose quite well.

Chevrefeuittc No. 1

Petitgrain oil, Paraguay 5

Neroli B 6.55

Brouta absolute (Robertet) 1

lonone alpha 4.85

Anisic aldehyde 2.5

Linalool 3

Terpineol 10

Geraniol 5.1

Hydroxy citronellal 3.8

Lilac No. 3 5.1

Phenylacetic acid 1

Bergamot oil 5

Benzyl acetate 5.1

Jasmonone No. 4 5

ChevrefeuiDe 2035 |Firmenich) 10

Chevrefeutlle LG. (Givaudan) 25

Musk ketone 1.25

Musk ambrette 0.75

100.00

HYACINTH

The odour of the hyacinth flower is often rather harsh and strident. Variants

based towards the xose or orange blossom are more acceptable. The basic odorants are

phenylacetic aldehyde, hydroxycitronellal. cinnamic and phenylethyl alcohols, terpineol

and phenylethyl acetate. And, as products contributing towards the piquant note of

hyacinth, which is more or leas green: dimethyl benzyl carbinol and it* acetate,

bromatyrole (tract*), methyl octin carbonate, cinnamyl acetate; and, for rounding off the

composition, when costing limits permit, hyacinth absolute. There was at one time,

incidentally, an absolute of wild hyacinths Ibluebells} available, but despite its

remarkable odour properties it proved too expensive, owing to the high coot of gathering

the flowers even before they were treated.

Hyacinth ha#** have found quite a number of Application* in currently popular

perfume*, but we feel that theie is sldl further scope for their use. particularly m

perfumes with a green note.

Hyacinth No. I

Lilac No. 3 10

Jacinthone (Givaudan) 20

Cinnamic alcohol 20

Neroli A 5

Jasmononc No. 4 a 10

Jasmin chassis ex benzene 4

Hyacinth absolute 5

Phenylacetic aldehyde 50% 6

Hydratropic aldehyde 3

Dimethyl benzyl carbinol 2

Hvdroxvcitroneellal 10

Rose de Mai absolute 5