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

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

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 perfumers 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 Hendersona 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 Pouchers 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
Ann! iiirlalr
Benzyl cimiamale
ji. Mril !>| u*viojilirjiiiir
iJill oil
Aniw oil
Borftcofc
Terpinrol
Mnalyl acetate
liomvl acetate
AniwMelnilc
I-OIMI Oil
litrgainnt oil
Ilu iislcilr.l ulixrfiol

iVtitKrain nil. htr.iKiiav

(Vninium oil. Ifcnittoin
oil
nuiiamoti oil
CfenmeUol
Neivl
Mrlliyl .uiilir.it liUir
Aldehyde CO
Methyl lieptln eaitoomte
Angel*'u root oil
Euteool
Cfironella oil. Java
Orarikil
Amyl solfcyfelc

$tynx oil
Un-.iKf nil
Btoraiuponr oil
Ptniy la trfakkt|.uSc
Sonlakood oil
&tlilll
Vanillin
Rcwniwi} nil
CuMlnfc akktiwle

Surt oil

Oen*rnl fixm^tr Clary jn#r oil

CkinOflUc aldehyde RMchoul
oil CUiiuimk* iilroliol

Table 2. Classification according to Volatility (Carle*)

Top Ncs>

Uodifto*

fiase AtoC**

Very ivtfafiV? products

lacAmp tetuxityr

of tose notes (i e )
iptoducxi o) \TM
products 0/ interMteftltfy and
rciiare ratantey and tenaatyfuph tenacity/

Am>l Mirlalr
liott <Je Rose
LinsliKil
Phrnylethji acetate
Union
Lwinler
iicrgurnot
OniiW'
Coriander
7jiru<p*i
Laurel no bills
I'ctitgfuln from
llr U*ukiii lire
etc.

BftftU
Met 1*1 laMrXK-'Ioocnint
Tefptncol
Absolute Orange VYJKtx
IWiigfiiiik. I*jiijijjiijiv
f!Ul> HHgr
Galbomim
Ann I nbcvtate
Verbena
Absolute Jasmin
Thyme
Benzyl salicylate
Oeroxivl mutate
CedAiwood
Juniper
AMehydc C.I6
Tansy
Aldehyde C.1H
I'lirnyHliyl ih-WkiI
Sjii Im|h \y.v\
Oenanki)
Artittrul Musks
Absolutc LuwrrtfT
Absolute Oakum**
Citnurllal
Velher and
Xeroll
derivatives
Rw Hulgtriui
pKtclVHlli
Viang
Cdeiy
Orrariiiim Aldehydes C.8.etc.
C.9. C.II, C.12 Ctovts etc.

Ellmeras 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 oversimplified 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 perfumersone 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, GeraniumRose 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. Arctanders
Peppermint Group contains simply peppermint and mentha arvensis, and has no crossreferences. 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)

Lilac-like (lilacl

e.

Orangeflower) (orange blossom)

f.

Tuberose-like (tuberose)

Violet-like (violet)

h. Resedaceou* (mignonettel
2 Woody Senes
a.

Spiuce-Kir (pepper)

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

Ambrd (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 tricksof-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

Ros Extender 1

46
Rose No. 3

Rose Bulgarian

25

Bulgarian rose absolute

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)

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

Geraniol

20

Citronellol

10

Linalool

Hydroxycitronellal

Linalyl acetate

Eugenol

Rose de Grasse absolute

Geranium (African! oil

10

Phenylethyl acetate

100
Rose Rouge
Violeuone A
Rose No. 1
Roue de Or&ss* absolute
Phenylacetic acid
Loren* |Pirmenich|
Phenylethyl alcohol
Rhodinol
Rose Blanche
Rost* No. 1
Sandalwood oil
Patchouli oil
Tuberose No. 1
Tuber euse |Synarome|
Orris resinoid
Jaamonia (Givaudan)
Benzyl acetate
Geraniol synth. pure
Lorena {Firmenich}
Phenylethyl alcohol
Iraldeine 100% (de Loire)
Rhodinol P (Rhone* Poulenc|
Aldehyde C9
Aldehyde CIO
Aldehyde C. 12 flauhc)
Rose MS
Rose M
Rhodinol P (Rhone-Poulenc|
Geraniol synth., checn. pure
Rhodinol (with traces of menthone)
Phenylethyl alcohol
Geranium Bourbon
Hydroxy citronellal

18
4.5
13
0.4
4.5
9.6
50
100
13.50
6.30
6.30
5.50
5
5
3.50
2
12
9
11
9
11.50
0.10
0.15
0.15
100.00
390
110
16
45
150
5
15

Cinnamic alcohol

7.50

Irakteine 100 % |d Laire|

26.50

Iralia B

3.50

Sandalwood Oil

Loiena (nrol|

100

Boi* do Rhode* (UOP)

Diphenyl oxide

Aromel (OivAudAnl

GuaiAC wood oil

14.50

GerAnyl acetate

Phenylethyl AcetAte

Rhodinol acetate

Citron oily] formate

14.50

Geranyl formate

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 ue 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

Paracresyl isobutyrate

3.2

Dimethyl benzyl carbinyl acetate

1.6

Benzyl alcohol

9.2

Linalyl acetate

Methyl anthranilate

0.4

Isojasmone |Descollonges|

0.05

Bois de rose oil. Brazil

Geraniol (synth., chem. pure, Firmenich)

1.6

Iraldeine 100% (de Laire)

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

Jasmin absolute

Benzyl acetate, chem pure (BBA|

10

Castoreum absolute (Deacollonjes) 10%

3.5

Narcissus absolute ICharabot)

A-Amyl cinnamic Aldehyde

20

Jasmin de Provence (Deacollonjes)

30

Indole 10%

Linalyl AcetAte ex boia de rose

Linalool

3.65

pAi'Aeresol 10%

0.7

Isojasmone 10%

0.65

Bitter almond oil \Wo

0.5

Jasmononc No. 4a

100.00

Benzyl acetate

30

Benzyl alcohol

30

Benzyl propionate

Methyl anthranilate

2.5

Indole 10%

2.5

Linalyl acetate

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

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
Indole 10%

25
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* (Mastc| 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
Phenylethyl alcohol

6
4.25

Linaiyi acetate

7.3

Indole 10%

4.7

Aldehyde C.8 10%

2.75

100.00
This 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)

Jasmonia (Givaudan)

Violet leaf absolute

Orris absolute or Irophore (Firmenich|

1.1

Ylang ylang oil

Ylang ylang absolute

0.6

Cassie absolute

0.55

Rose No. 1

0.1

Neroli oil

0.06

Phenylethyi alcohol

Bitter orange oil

0.6

Oakmoss absolute (Robertet|

0.16

Folione (Givaudan)

0.03

Linalool

0.5

Bois de rose Brazil

Cinnamylal (Givaudan)

4.5

Heliotropm

Muck ainbrette

0.1

Musk ketone
Vanillin
Civet tincture

0.3
0.2
16.5

Peru balsam tincture

8.3
100.00

Violet AV>. 2
Violet No- 1
Irisone Beta (Givaudan)
Iralia (Pirmenich}
Cetone V (allyl ionone, OivAudan)
Ylang ylang absolute
lrophore (Pirmenich)
Violet leaf absolute
Cas&ie absolute
Mimosa absolute
Jasmin absolute
Mirabelle (Firmenichl 1%

60
6
10
9
4
1.6
2.6
0.8
1.3
1.2
3.5
100.0

The absolute oil of Parma violets, which

had a delightful
odour, is no longer an item of commerce. The following formula
yields 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|
lrophore (Pirmenichl
Violettone B extra fine 100% (Pirmenich)
Parmanthene (Pirmenich)
Benzyl benzoate

1.8
4
4
0.2
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* Humucol 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

Boronia absolute

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 prfurner>* 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

Benzyl benzoate

3.45

Heliotropin

1.55
100.00
Base Claveline No. 2

Eugenol

61.5

Ylang ylang oil

4.6

Cananga oil

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

Tuberoe absolute synth. ISynarome)

2.5

Carnation absolute (Charabot)

5.9

Vanillin

139

Couroarin

Musk ketone

Musk ambrette

0.4
100.00
Co manor) Flowers No. 4

Base Clavelin* No. 2

18.3

Oeillet de Nice No. 3

Bugtnol

Isoeugenol

31

Roc 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

Methyl ionone

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

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

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)

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

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

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

Pctitgrain oil, Paraguay

Coumarin

14.3

Muftk ketone

6.1

Heliotropin

6.1

Phenylethyi salicylate

3.1

Methyl aalicylatc

Eugenol

Jaamin No. 1

3.1

Clary sage oil

1.35

Amyl salicylate

Musk tincture

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

Vetiver oil. Java

Lavender oil, Mitcham type

6.3

Lavender absolute

1.6

Bergamot oil

35

Linalyl acetate

2.2

Ter piny 1 acetate

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

Neroli D

2.5

teoeugenot

Rose dc Mai absolute

Ylang-ylang oil

Benzyl acetate

J asmin .absolute

Lilol (Oivaudml

lonone alpha

10

Hydroxy citronellal

20

Phenylethyl alcohol

Phenylacetic aldehyde 50%

1.5

CiuotwUol

4.5

Cinnamic alcohol ex styrax

Coumartn

2.5

Heliotropin

7.5

Crardfnid So 2

100.0

Musk ketone

2.5

Musk ojubretle

Jasmin de Provence R (Dcscollonges|

Jasmin absolute

Rose de Mai absolute

3.5

Jonquil absolute

Tuberose absolute

Gpopanax L.G. {Givaudan|

16.9

Muguet No. 2

10.2

Styrall.vl acetate

12

Hydroxy citronellal

15

Ylmg-ylang oil

Cinnamic alcohol ex styrax

Phenylethyi alcohol

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

Neroli B

6.55

Brouta absolute (Robertet)

lonone alpha

4.85

Anisic aldehyde

2.5

Linalool

Terpineol

10

Geraniol

5.1

Hydroxy citronellal

3.8

Lilac No. 3

5.1

Phenylacetic acid

Bergamot oil

Benzyl acetate

5.1

Jasmonone No. 4

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

Jasmononc No. 4 a

10

Jasmin chassis ex benzene

Hyacinth absolute

Phenylacetic aldehyde 50%

Hydratropic aldehyde

Dimethyl benzyl carbinol

Hvdroxvcitroneellal

10

Rose de Mai absolute