Historical Perfumery Products of 1716

This comprehensive article details the diverse products listed in an advertisement for "Curious and perfumed goods sold by Jean Rey, Perfumer Merchant of Montpellier, currently in Frankfurt," as found in the 1716 volume Historia Simplicium Reformata by Michaelis Bernhardi Valentini. These items, translated from Old French into modern English, offer a fascinating window into the world of perfumery and personal care in the 18th century. The catalogue is meticulously organized, reflecting both the range of goods available at the time and the archaic nature of the language used, with many of the terms now outdated or nearly impossible to find in modern dictionaries. This document reveals the extent to which feminine vanity was catered to during the reign of Louis XV, a time when the French Court was indulging in excess and extravagance, and personal adornment was as important as it ever had been.

The catalogue opens with a selection of perfumed embroidery, practical yet luxurious items intended for both personal and domestic use. These included embroidered sachets, or carreaux, which could be discreetly placed on the body, in beds, or in cupboards, serving as hidden pockets for handkerchiefs. Notably, there were also embroidered wig boxes, a fashionable storage solution for wigs, highlighting the importance of hair in 18th-century beauty rituals. This collection shows how perfumed items were integrated into everyday life, combining function with fragrance.

Next, the catalogue offers a variety of essences, primarily from Grasse, the renowned perfume capital of the time. Scents such as neroli, jasmine, orange, tuberose, jonquil, cassie, and violet were paired with pomades, creating a luxurious selection of products designed to impart fragrance and enhance personal allure. Fragrant sweetmeats, including liquorice juice flavored with ambergris, also appeared in the inventory, illustrating how the boundaries between scent, taste, and luxury were often blurred. The inclusion of perfumed gloves—crafted from dog skin (actually kid leather), chamois leather, and Spanish leather, and scented with ambrette and a variety of flowers—demonstrates the close relationship between fashion, scent, and personal grooming during this period.

In keeping with the tastes of the time, perfumed leather was also available for purchase, often sold in pieces for use in creating scented fans. The ubiquitous scent of ambre pervaded many of these products, emphasizing its popularity in the courtly circles of the period. Additionally, face powders—essential for maintaining the powdered appearance of wigs—were sold in abundance. These powders, often scented with chypre or ambergris, served to preserve the greyish hue of a wig, a hallmark of the era's fashion. There was even a powder specifically designed for drying the hair, along with a paste for whitening the hands, a product perhaps favored by those performing in the theatres or courts of Versailles.

The catalogue also offers an extensive range of products intended to preserve and enhance the complexion. Among these were a white balsam for children suffering from smallpox, pomades for skin, lips, and teeth, and face lotions such as lait virginal (virgin milk) and myrrh water. The renowned Queen of Hungary water, an early form of eau de Cologne made from distilled rosemary leaves and brandy, also appeared in the list. Face patches, or mouches, were sold in both fine and common varieties, and velvet eye masks lined with scented leather were available for those seeking to add an extra layer of luxury to their beauty routines. The prevalence of perfumed soaps and face sponges in the same section highlights the integration of scent into daily hygiene, a reflection of the 18th century's emphasis on cleanliness and beauty.

Among the offerings were embroidered and perfumed articles, such as toilet linens ornamented with gold and silver thread and delicately scented to enhance both tactile and olfactory pleasure. Also listed were “piqué cushions,” referred to as Sultans, which came in large and small sizes. The larger variety was intended for storing between one’s shirts, while the smaller was used to be placed between handkerchiefs. These were also perfumed and decorated in embroidery, indicating their dual function as both practical storage and aesthetic objects meant to grace the dressing table or personal space.

Jean Rey also sold bed cushions and pocket cushions, both perfumed and, in many cases, embroidered. The pocket cushions were crafted in two types: simple satin and embroidered versions, suggesting both modest and luxurious options for customers. Additionally, perfumed quilted taffeta pockets were sold—small soft cases likely used for storing delicate items or perhaps carried on one’s person to subtly diffuse scent throughout the day.

A number of perfumed boxes or cassettes were also featured, including cassettes à la Romaine—embroidered boxes named after Roman-style design—and simpler perfumed cassettes, as well as specialized ones for storing wigs. These boxes were not only storage solutions but also scent vessels, intended to preserve and impart fragrance to garments and accessories kept within.

Masculine vanity is also addressed in the catalogue, with a variety of snuffs available, each infused with popular scents like musk and amber. In keeping with the period's obsession with personal grooming, the catalogue includes a selection of tooth powders, prepared coral, teeth sponges, and dentifrice sticks, all of which reflect a more practical form of vanity—concern for cleanliness and health amid the frivolous customs of the day.

Interestingly, the catalogue also includes a section on beverages and liqueurs, which may seem an unusual addition to a perfumer's inventory by modern standards but makes sense in the context of the time. Rossoli de Turin, an early form of vermouth, cinnamon water, millefleurs water, and angelica liqueur are all listed, along with other delicacies flavored with amber, blurring the lines between fragrance, food, and drink. Even chocolate, coffee, and tea appear in the catalogue, further demonstrating the interconnectedness of sensory indulgences during the Bourbon era.

Further into the catalogue, one finds a selection of distillates and waters aimed at improving health. These include thyme water, spirits of wine, and refreshing syrups such as those made from orange flower and violet. Although these products may not seem to fit neatly into the category of modern perfumery, their inclusion in the catalogue underscores the broader role of the perfumer during the 18th century. Perfumers were not merely purveyors of scent but were also involved in promoting wellness, helping to rejuvenate the body, and even assisting with deception. Whether masking one's identity with scented cloths or masking the effects of excess with a refreshing syrup, the perfumer was an integral part of both external beauty and internal well-being in this lavish age.

Finally, Rey offered perfumed cloths specifically for laying over clothing, meant either to impart scent or preserve freshly perfumed garments between wearings. These cloths reflect the importance of scenting not just the person but their immediate belongings and wardrobe, a practice deeply tied to perceptions of hygiene, luxury, and personal refinement in the early 18th century.

Altogether, Jean Rey’s inventory reveals the intersection of textile art, perfumery, and daily ritual, emphasizing how scent was woven into the physical fabric of life. This advertisement is more than a product list—it offers insight into how early modern consumers lived with fragrance, not only wearing it on the body but embedding it in the domestic and sartorial environment.

Embroidered articles scented with perfume:

This richly descriptive inventory reflects the intersection of textile craftsmanship, perfumery, and personal luxury in the late 17th or early 18th century. Jean Rey’s wares, sold in Frankfurt but crafted in Montpellier, are infused with both fragrance and ornament, designed to bring sensory delight into everyday domestic and dressing rituals. Jean Rey’s merchandise illustrates a refined sensory culture, where scent was not limited to the body but permeated personal belongings, furnishings, and storage accessories. The layering of scent, texture, and embroidery in these goods speaks to a world where luxury was both tactile and aromatic—a fusion of beauty, hygiene, and status.

Perfumed embroidered items: A broad term likely covering various small embroidered articles—such as sachets, kerchiefs, and decorative panels—each delicately scented and adorned with needlework, serving as both ornament and olfactory pleasure.

Perfumed toilet cloths in gold and silver embroidery: These luxurious cloths were used during the morning toilette, when aristocratic men and women dressed and groomed. Embellished with metallic thread embroidery and infused with scent, they were both utilitarian and performative—intended to impress, soothe, and please.

Large quilted cushions, called "Sultans", embroidered and perfumed, for placing between shirts: These scented quilted pads, referred to as Sultans, were made to hold or present garments such as shirts. The term “Sultan” hints at Oriental inspiration, fashionable at the time. The embroidery and scent elevated these items beyond simple storage, into objects of display and refinement.

Small quilted cushions, called "Sultans", embroidered and perfumed, for placing between handkerchiefs: A smaller version of the above, used for storing or presenting scented handkerchiefs, which were indispensable in social life. These cushions likely helped preserve the perfume of the cloth while also scenting drawers or wardrobes.

Perfumed bed cushions: Placed beneath or among bedding, these cushions were infused with herbal or floral fragrances like lavender, ambergris, or rose, intended to promote restful sleep and keep linens fresh and insect-free.

Embroidered perfumed pocket cushions: Small scented sachets or cushions, delicately embroidered and portable, meant to be carried in pockets or under garments. Used to mask odors, deter pests, and offer aromatic pleasure throughout the day.

Plain satin pocket cushions: A simpler version of the above, fashioned from smooth satin and likely filled with fragrant powders or herbs. These would suit someone of more modest means or for everyday use.

Quilted and perfumed taffeta pouches: These padded pouches, made of taffeta (a crisp, fine silk), were sewn into shapes and filled with scent. They were used for holding small valuables or worn on the body for fragrance and comfort.

Cassettes à la Romaine, embroidered and perfumed: Small decorative boxes or pouches—here termed cassettes—styled in a manner inspired by Roman (Romaine) antiquity. They may have featured classical motifs and were likely used to store scented accessories or jewelry.

Ordinary embroidered and perfumed cassettes: A more everyday version of the above, still embroidered and perfumed, but probably with simpler decoration or smaller in size.

Perfumed cassettes for storing wigs: Wigs, an essential element of court fashion, were expensive and carefully maintained. These specialized cassettes were lined and scented to protect wigs from dust and insects while infusing them with pleasant perfume.

Perfumed cloths used for storing garments: Larger pieces of fabric scented with essential oils or resins, used to wrap clothing within chests or armoires. These cloths helped to preserve, perfume, and protect fine textiles from moths, mold, and mustiness.

Perfumed Gloves:

These “gands parfumés” (perfumed gloves) represent a luxurious and highly fashionable item of personal wear in the 17th and 18th centuries, when gloves were not only an accessory but also a vehicle for perfume and prestige. They were worn by both men and women and were part of the ritual of dressing, often exchanged as gifts and prized for their craftsmanship and scent. Scented gloves were not only a pleasure to wear, they served practical and social functions. In cities with poor sanitation, gloves helped mask unpleasant odors. Perfumed leather also helped protect the skin from contact with disease or miasma, as was believed at the time. Additionally, they were part of the etiquette of gift-giving and courtship, sometimes worn as tokens or keepsakes.

Perfumed Dogskin Gloves (Gands de Chien parfumés): “Dogskin” here refers to kid or lambskin, not literal dog hide. It was a soft, supple leather ideal for close-fitting gloves. These gloves were soaked or dusted with perfumed powders or scented oils—a luxurious touch that also masked the odors of tanning agents and the city.

Perfumed Roman Gloves (Gands de Rome parfumés): The term “Roman gloves” likely refers to a style associated with Italian fashion, perhaps elaborately stitched or ornamented, or made using specific Italian tanning or perfuming methods. Italy, particularly Florence and Rome, had a long history of glove- and perfume-making, and these gloves may have carried prestige for that reason.

Ambrette-Scented Gloves (Gands d’Ambrette): Ambrette is a musk-like aroma derived from the seeds of the Abelmoschus moschatus plant. It was used as a vegetal alternative to animal musks, lending a sweet, warm, musky tone to gloves. These were particularly valued by those who avoided animal-derived ingredients or wanted a softer musk.

Gloves with All Sorts of Flower Scents (Gands de toute sorte de fleurs): These gloves were likely imbued with blended floral fragrances such as rose, jasmine, orange blossom, tuberose, violet, and carnation. They offered a bouquet effect, releasing different floral notes as they warmed on the skin.

Perfumed Skins:

These perfumed skins were part of the broader trend during the 17th and 18th centuries, where materials like leather and fabric were treated with luxurious fragrances to enhance their appeal and value. Amber, particularly ambergris, was a significant component in luxury perfumery, used to scent items like gloves, fans, and various leather goods. It was a symbol of wealth and refinement.

Spanish skins with amber (Peaux d'Espagne à l'ambre): These were high-quality leather pieces from Spain, likely used for various luxury products, perfumed with amber. Amber, often in the form of ambergris (a natural secretion of sperm whales), was a highly prized perfume ingredient during the 17th and 18th centuries. It had a musky, sweet scent and was often used in luxury goods, including gloves, skins, and other items that absorbed scent well. Spanish leather, known for its fine quality, was often associated with both luxury and durability.

Small Spanish skins with amber (Peaux petit d'Espagne à l'ambre): This refers to smaller pieces of the same high-quality Spanish leather, perfumed with amber. These smaller skins could have been used for smaller items like pouches, sachets, or other accessories. The use of amber would have added an air of exotic luxury, as ambergris was rare and expensive.

Skins for fans with amber (Peaux pour les Esvantails à l'ambre): These were specifically treated leathers used in the creation of fans, which were an essential accessory in the 18th century, especially for ladies of the court. The leather for these fans would have been perfumed with amber to enhance the luxurious experience of the fan, making it not just a functional object but also a sensuous and fragrant one. Fans often came with intricate designs or were made of high-quality materials like ivory, silk, and leather, and the addition of amber would have further elevated their status as fashionable and fragrant accessories.

Perfumed Cyprus Powders:

The Cyprus powder (or Chypre powder) was part of an elaborate tradition in perfumery and personal care, particularly during the 17th and 18th centuries, when elaborate wigs and heavy use of cosmetics were fashionable. Chypre is a classic fragrance family that includes notes like citrus, oakmoss, patchouli, and ambergris, with the latter being a key ingredient in many luxury powders and perfumes.

Wig powders, such as the gray and white varieties mentioned here, were popular during the 18th century, especially in Europe. These powders were used to refresh wigs, add fragrance, and often absorb oils, keeping the hair looking neat and well-maintained. The amber element in the powders was an especially sought-after fragrance, considered elegant and sophisticated.

Gray amber Cyprus powder (Poudre de Chypre grise ambrée): This was a type of perfumed powder with a gray color, likely designed for use on wigs, as it was common in the 17th and 18th centuries to wear wigs as part of fashionable attire. The powder was amber-scented, infused with ambergris, which has a musky, warm aroma. The term "gray wig powder" suggests that this powder was used to dust wigs, imparting both a fragrance and a subdued color to the hair. Cyprus powder refers to a fragrance blend often associated with earthy, woody, and floral notes, fitting the Chypre fragrance family.

White amber Cyprus powder (Poudre de Chypre blanche ambrée): This was a lighter, more delicate version of the previous powder, designed for use on wigs or as a finishing touch to one's hair or clothing. The white variant would be a lighter powder, giving a more refined and perhaps subtle appearance. The powder was still amber-scented, offering a gentle but luxurious fragrance. White wig powder was commonly used in periods when elaborate powdered wigs were a key element of formal attire.

Amber Frangipane powder (Poudre de Franchispane ambrée): The term Frangipane likely refers to a type of sweet, floral fragrance blend. It is associated with a warm, vanilla-like scent, often used in perfumed powders. Amber was again the primary fragrance base, providing a rich, musky warmth. This powder may have been used as a body powder or lightly dusted over clothing and wigs, contributing both scent and a subtle sheen. It would have been a luxurious addition to personal grooming.

Prepared gray Cyprus body (Corps de Chypre gris préparé): This refers to a more finished or ready-to-use product, likely a body powder prepared with the characteristic gray Cyprus fragrance, which embodies woody, earthy, and floral notes typical of the Chypre family. The "prepared" term indicates that this was a ready-made powder, designed for personal use, and likely intended to be applied to the skin, providing both a fragrance and a smooth texture.

Golden vases for holding Cyprus powders (Vases dorés pour mettre les poudres de Chypre): These were decorative and functional containers made of gold or gilded material, designed to hold the Cyprus powders. The golden vases added a touch of opulence, making the powder not just a luxury product but also a visually appealing item. They were likely used for both storing and presenting the powders, serving as an elegant addition to a personal vanity or dressing table.

Perfumed Hair Powders & Hand Paste:

Ambrette powder (Poudre d'ambrette): Ambrette is a musky, earthy-scented powder derived from the seeds of the Ambrette plant, used for its warm, sensual fragrance. It was widely used in personal care products, especially in powders, for its ability to leave a subtle, lingering scent on the skin and hair. Ambrette was highly prized for its natural musk-like aroma, often serving as a base note in perfumes and powders.

Half ambrette powder (Poudre demy ambrette): This likely refers to a diluted or milder version of the full-strength ambrette powder, possibly blended with other lighter ingredients to soften the fragrance. It would be suitable for individuals who preferred a less intense, more subtle scent, but still appreciated the unique muskiness of ambrette.

Hair-drying powder (Poudre à desecher les cheveux): This powder was specifically designed to dry and freshen the hair, likely used after washing. It could have been made with absorbent ingredients, helping to remove excess moisture while adding a light fragrance to the hair. This would be useful in an era when hair care routines often involved extensive grooming, and powders were a common tool for maintaining fresh hair.

Jasmine powder (Poudre de Jasmin): Jasmine is a luxurious floral fragrance that has long been associated with romance and elegance. This powder would have been used to perfume the hair or body, offering a delicate, sweet floral scent. Jasmine is a widely appreciated flower in perfumery, known for its intoxicating fragrance, making this powder a desirable addition to personal grooming.

Orange blossom powder (Poudre d'Orange): Made from the delicate flowers of the orange tree, this powder would carry a fresh, uplifting scent, with a slightly sweet, citrusy floral note. Orange blossom is highly prized in perfumery for its light, airy fragrance, often evoking feelings of warmth and springtime. This powder would have been used to lightly scent the hair, skin, or clothing.

Daffodil powder (Poudre de Jonquille): Daffodils are bright, yellow flowers with a sweet, slightly honeyed scent. This powder would have been infused with the floral aroma of daffodils, providing a spring-like fragrance. It may have been used to dust over hair, clothing, or even bedding to infuse the space with a light, natural floral note.

Tuberose powder (Poudre de Tubereuse): Tuberose has a strong, rich floral fragrance, often described as heady and sweet with hints of honey. This powder would have provided a more intense and luxurious scent compared to lighter floral options like jasmine or orange blossom. It was likely used to add a dramatic fragrance to the hair or body, making it a popular choice for evening wear or formal occasions.

Thousand flowers powder (Poudre de mille fleurs): This powder would have been a blend of various floral fragrances, combining the best of multiple flowers into a single, complex aroma. The idea of a "thousand flowers" suggests a highly complex, multi-layered fragrance, likely meant to be a luxurious and distinctive scent for hair or body. It was probably a mix of several flowers, like jasmine, rose, and orange blossom, among others.

Violet powder for scenting linen (Poudre de Violette servant à mettre parmi le linge pour se parfumer): Violet has a soft, powdery, and slightly sweet fragrance, perfect for scenting linen or other fabrics. This powder would have been used to infuse sheets, clothes, and other linens with a subtle, floral scent, creating an environment of softness and freshness. It would have been a highly popular item in the 18th and 19th centuries when scented linens were a mark of wealth and good taste.

Paste for whitening the hands (Paste pour blanchir les mains): This whitening paste was likely used to cleanse and brighten the hands, especially in times when skin care products were designed to maintain a pale complexion, which was considered a sign of nobility and refinement. The paste may have contained bleaching agents or soothing ingredients, formulated to give the skin a lighter, more refined appearance. It may have also had a mild fragrance, possibly floral or citrusy, to keep the hands smelling fresh.

Essences for Perfumery:

These essences are the key ingredients in creating fragrances that would have been used during the 17th and 18th centuries, not only for personal use but also in decorative and ceremonial settings. Each essence is made by extracting concentrated oils from natural sources like fruits, flowers, and even animal products, and each one adds a specific aromatic dimension to perfume blends. In historical contexts, these essences were often used as luxurious personal items, with ambergris and musk being particularly expensive and associated with wealth and nobility. Today, these traditional essences continue to be central in crafting perfumes, though modern synthetics have replaced some of the natural sources, especially for ambergris and musk, due to environmental and ethical considerations.

Essence of Ambergris (Essence d'ambre gris): Ambergris is a substance produced in the intestines of the sperm whale, often found floating in the sea or washed ashore. It has been highly valued for centuries in perfumery because of its rich, warm, musky, sweet, and earthy fragrance. The essence of ambergris refers to the highly concentrated extract of this material, which is used in perfumes to create depth and complexity. It is often used as a fixative to help other fragrances last longer. In historical perfumery, ambergris was considered an exotic and luxurious ingredient due to its rarity and the complexity of sourcing it.

Essence of Neroli (Essence de Nerolly): Neroli is the oil derived from the flowers of the bitter orange tree (Citrus aurantium). It has a light, sweet, and floral fragrance with citrus undertones, often associated with freshness and cleanliness. Neroli essence is highly prized in modern and traditional perfumery for its delicate, elegant scent and its ability to evoke a sense of calmness and purity. It is frequently used in fragrances designed for spring or summer due to its refreshing and uplifting qualities. Historically, neroli was used in perfumes intended for the upper class, being highly expensive to produce because of the labor-intensive process of extracting oil from the tiny flowers.

Essence of Cedrat (Essence de Cedrac): Cedrat (also known as citron) is a type of large, aromatic citrus fruit that has been cultivated for centuries. Its peel contains essential oils with a sharp, lemony scent, making it a valuable ingredient in both traditional and contemporary perfumes. Cedrat essence is often described as zesty, fresh, and highly fragrant, and is primarily used to brighten and add a tangy, citrusy note to fragrances. It was especially popular in medieval perfumery, where it was used for its fresh, clean scent. Cedrat essence is sometimes found in men's fragrances or citrus-based perfumes designed to invoke an energizing and invigorating atmosphere.

Essence of Bergamot (Essence de Bergamotte): Bergamot is a small, aromatic citrus fruit often used in perfumery, especially for its citrusy, slightly spicy, and floral scent. The essence of bergamot comes from the peel of this fruit, and it is a key ingredient in many citrus and floral perfumes. It has a complex aroma that combines both sweet and tart notes, making it a popular top note in many famous perfumes, like Eau de Cologne and Chanel No. 5. Bergamot essence is not only valued for its bright and uplifting fragrance but also for its balancing and calming properties. It is often used to add freshness and a sparkling effect to a fragrance composition.

Essence of Musk (Essence de Musque): Musk has traditionally been a key ingredient in perfumery, derived from either animal sources (originally from the musk gland of certain animals) or synthetic sources in modern perfumery. The essence of musk typically has a deep, earthy, sweet, and sometimes animalistic fragrance, with an ability to give warmth and richness to perfume blends. Historically, musk was used as a fixative, helping to hold the fragrance together and make it last longer on the skin. Due to ethical concerns and the rarity of natural musk, synthetic musk is now predominantly used in modern perfumery. Nevertheless, musk essence is still valued for its warm, sensual qualities and is often found in perfumes aimed at deep, oriental, and woody compositions.

Essences & Pomades of Flowers:

Assorted boxes of all kinds of essences, pomades, & scented waters (Boëtes assorties de toute sorte d'essences, pomades, & eaux de senteur)

These flower-based essences and pomades were highly prized in the historical perfume trade. They reflect the luxurious nature of perfumery during earlier centuries, where fine flower essences were extracted for use in personal care products, perfumes, and beauty treatments. Pomades, in particular, were often used as solid perfumes, as they allowed the wearer to carry and apply a concentrated fragrance in a portable form.

The historical use of pomades for skin and hair treatment reveals the multi-functional role of perfumes in daily life, serving both aesthetic and practical purposes, offering fragrance as well as moisturizing benefits. The essences listed, on the other hand, were primarily used to create delicate floral perfumes or to be used in cosmetic waters for the face and body.

Essence of Jasmine (Essence de Jasmin): Jasmine is a beloved flower known for its strong, sweet, and floral fragrance. The essence of jasmine is extracted from the flowers of the plant, often through an enfleurage (fat absorption) or solvent extraction method. In perfumery, jasmine essence is highly regarded for its luxurious and exotic aroma, frequently used in floral and oriental fragrances. It is known for its ability to add a rich, intoxicating, and sensual note to perfumes, making it a common ingredient in high-end fragrances.

Essence of Orange (flowers) (Essence d'Orange): Orange flower essence, or neroli, is derived from the blossoms of the bitter orange tree (Citrus aurantium). The essence has a delicate, fresh, and sweetly floral fragrance, often described as both citrusy and floral. It is a key ingredient in many citrus-based and floral perfumes. In addition to its aromatic appeal, neroli is celebrated for its soothing and calming properties. The essence was traditionally used in perfumes for elegance and refinement, often associated with classic, feminine scents.

Essence of Tuberose (Essence de Tubereuse): Tuberose is a highly aromatic flower, known for its strong, heady, and intoxicating fragrance. The essence is extracted from the tuberose flower (Polianthes tuberosa) and is often described as creamy, floral, and spicy. It is a key ingredient in oriental and floriental perfumes and is prized for its ability to add depth and sensuality. Tuberose essence has been used in luxurious perfumes for centuries, often associated with nighttime fragrances due to its rich, mysterious quality.

Essence of Daffodil (Essence de Jonquille): Daffodil (Narcissus) essence is derived from the flowers of the daffodil plant, known for its fresh, green, and slightly sweet fragrance. While not as common as other floral essences, daffodil essence brings a soft, spring-like quality to perfumes, often providing bright, uplifting notes. The essence is typically used to add a crisp, floral element to fragrance compositions, especially in fresh, spring-inspired perfumes.

Essence of Cassie (Essence de la Cassie): Cassie essence is extracted from the flowers of the acacia tree (Acacia farnesiana). The fragrance is characterized by a sweet, powdery, and slightly floral aroma. It has a distinctive yet soft scent, often used in oriental and floral perfumes. Historically, cassie was valued for its rich, warm, and comforting qualities, and it was sometimes used to add softness and depth to perfume compositions.

Essence of Violet (Essence de Violette): Violet essence is extracted from the flowers of the violet plant (Viola odorata), known for its delicate, powdery, and sweet fragrance. Violet is a classic note in perfumery, often evoking a sense of elegance and nostalgia. The essence is often used in floral and powdery perfumes, providing a soft, gentle, and slightly woody undertone. Violet is particularly popular in vintage perfumes due to its nostalgic and timeless nature.

Essence of a Thousand Flowers (Essence de mille fleurs): This term refers to a composite essence created by blending the oils of multiple flowers. The result is a complex, multi-layered floral fragrance that encompasses a range of flower essences such as jasmine, rose, violet, and others. It is designed to evoke the scent of a blooming garden or a field of flowers, and is often used in floral compositions to provide a rich, abundant, and diverse floral note.

Essence of Rosemary (Essence de Rosmarin): Rosemary essence comes from the leaves and flowers of the rosemary plant (Rosmarinus officinalis). The fragrance is herbaceous, woody, and slightly camphoraceous, often evoking a sense of freshness and cleanliness. It is used in aromatic and herbal perfumes, often as a top note or to add green, invigorating accents to more complex compositions. Rosemary is also known for its clarifying and energizing properties.

Pomade of Jasmine (Pomade de Jasmin): A pomade is a thick, creamy substance often used as a perfumed balm. The jasmine pomade is a solid, fragrant product made with the scented essence of jasmine, typically used as a skin moisturizer or a perfumed paste for the body. It imparts a rich, sweet floral fragrance and is likely to have been used in a manner similar to modern perfumed body creams or balms.

Pomade of Orange (flowers) (Pomade d'Orange): The orange flower pomade would have been a solid, fragrant paste infused with the essence of neroli (orange blossom), used in the same way as the jasmine pomade. Its light, sweet floral fragrance would be perfect for applying to the skin or hair for a fresh, clean scent.

Pomade of Tuberose (Pomade de Tubereuse): This pomade would have been a thick balm with the intoxicating and floral fragrance of tuberose. It would be used as a perfumery paste to impart the deep, sensual qualities of tuberose onto the skin, often worn as a luxury beauty product for those seeking a rich, heady floral scent.

Pomade of Daffodil (Pomade de Jonquille): Similar to the other pomades, this product would be a thick, fragrant paste made from the essence of daffodil flowers. The pomade would offer a bright and fresh floral fragrance, used as a skin or hair treatment with a touch of spring-like vibrancy.

Pastilles de bouche parfumées: Perfumed mouth pastilles:

The pastilles and muscadins described here were likely luxury confections with a dual purpose: enjoying a sweet treat and perfuming the breath. They were often used by those who appreciated refined flavors and fragrances, and many of these sweets were considered part of personal care rituals, especially for oral hygiene or refreshing the senses.

The inclusion of amber, violet, rose, licorice, and clove suggests that these products were tailored to those who sought both flavorful experiences and fragrance in their everyday lives. Many of these flavors and aromas were considered exotic or luxurious, signifying the affluent nature of the people who would have used these products in the past.

Perfumed Mouth Pastilles (Pastilles de bouche parfumées): These are small sweets or lozenges designed to be sucked on, often used in the past for freshening the breath or for aromatic purposes. The addition of perfumed essences indicates that these pastilles were likely meant to provide a fragrant experience in addition to their more practical uses.

Amber Pastilles of All Strength (Pastilles à l'ambre de toute forte): These pastilles are infused with amber, a substance known for its warm, rich scent and its reputed balancing and soothing properties. The phrase "of all strength" suggests that they came in various intensities of fragrance, perhaps from mild to strong. Amber pastilles may have been used for their fragrance or as part of oral hygiene routines.

Amber Muscadins Also Used for Perfuming (Muscadins ambrés servant aussi à parfumer): Muscadins are small sugar-coated candies or lozenges that were also used as a source of fragrance, in this case, amber. They likely combined the sweetness of sugar with the rich, warm fragrance of amber, and they were not just for consumption, but also served to perfume the air or provide a pleasant scent when used in a closed space or on the person.

Lemon Pastilles (Pastilles de Citron): These were lemon-flavored lozenges or sweets, often used to refresh the palate or to provide a bright, citrusy taste. Lemon has a sharp, invigorating scent, and these pastilles would have been a popular option for both their refreshing taste and the uplifting citrus fragrance.

Violet Pastilles (Pastilles de Violette): These were violet-flavored pastilles, which would have been sweet with a floral fragrance. Violets have a delicate, sweet, and slightly powdery scent, and these pastilles were likely enjoyed for their elegant floral flavor and their ability to impart a light, sweet fragrance.

Violet Muscadins (Muscadins de Violette): Similar to the violet pastilles, these violet muscadins were violet-flavored candies coated in sugar. The muscadins likely added a crunchy sweetness to the floral violet essence, and were used both as a sweet treat and for their fragrant properties.

Rose Pastilles (Pastilles de Rosé): These rose-flavored lozenges would have been infused with the sweet, romantic fragrance of rose petals. The scent of roses is often associated with luxury and elegance, and these pastilles would have been enjoyed both for their refreshing floral flavor and for the gentle, fragrant experience they provided.

Rose Muscadins (Muscadins de Rosé): Like the other muscadins, these were sugar-coated rose-flavored candies. They combined the soft floral essence of roses with the sweetness of sugar, creating a delightful combination of taste and scent. These muscadins could have been used for breath freshening or to add a floral touch to the atmosphere.

Clove Pastilles (Pastilles de Giroffle): These were clove-flavored pastilles, with a strong, spicy, and warm flavor. Cloves are known for their sharp, aromatic quality, and these pastilles would have been particularly useful for freshening the breath or for those who enjoyed spicier, more robust flavors. They may also have been believed to have health benefits, such as soothing the throat.

Clove Muscadins (Muscadins de Giroffle): Similar to the clove pastilles, these sugar-coated clove candies combined the intense flavor of cloves with a sugary coating, providing a sweet-and-spicy treat. These would have been used not only for their spicy taste but also as a means of perfuming the mouth and offering a strong aromatic experience.

Amber White Licorice Juice (Suc de Reglisse blanc ambré): This was a licorice juice infused with amber, offering both the distinctive flavor of licorice and the warm, soothing qualities of amber. Licorice has a rich, herbal, slightly sweet taste, while amber adds a warmth and depth to the overall experience. The amber likely enhanced the smoothness and richness of the licorice juice, making it both flavorful and aromatic.

Yellow Licorice Juice of Violet (Suc de Reglisse jeaune de Violette): A variation of licorice juice that was yellow in color and infused with violet flavor. This combination would have offered a sweet, herbal taste from the licorice, complemented by the delicate floral notes of violets. The unique pairing would have created a refreshing and aromatic experience, with the violet giving it a soft floral twist.

Parfums des chambres: Room perfumes:

These room perfumes were part of the broader tradition of scenting interiors that dates back centuries. In a time before modern air fresheners, these methods of using heat to release fragrance were highly valued. The copper caskets, for example, not only served as a means of scenting the air but also as decorative objects, often found in the homes of the affluent. They added both aesthetic value and aromatic ambiance to the environment.

The pastes, pastilles, and sachets were key components in creating a desired atmosphere in the home, often contributing to a sense of luxury, cleanliness, and elegance. They were especially used for scenting living rooms, parlors, or personal spaces where comfort and refinement were important.

This method of burning fragrances was a forerunner to the more modern use of candles and diffusers, though these earlier methods were typically more elaborate and crafted for a specific ritualistic experience in the home.

Room Perfumes (Parfums des chambres): Room perfumes were substances or objects used to perfume the air in a room or space. These products were designed not only for scenting but also for creating a pleasant ambiance in living spaces.

Copper Caskets to Place on a Brazier, to Perfume the Room (Cassolettes de cuivre, à mettre sur un rechaud, pour parfumer la chambre): These were small, decorative vessels made of copper that were intended to be placed on a small heating device (rechaud), such as a brazier. The copper casket would hold fragrant pastes, powders, or other substances, and the heat from the brazier would melt or burn the material, releasing its scent into the air to perfume the room. These copper caskets were often used as elegant home fragrance tools and added an element of luxury to the process of scenting interiors.

Pastes to Place in the Caskets (Pastes pour mettre dans les cassolettes): These were fragrant pastes specifically designed for use in the copper caskets. The pastes were likely made from a combination of resins, oils, and aromatic substances, and they were placed in the caskets, where the heat from the brazier would gently release their fragrance. The pastes could have been amber-scented, floral, or resinous, providing a consistent and long-lasting scent to the room.

Pastilles to Burn (Pastilles à brûler): These were small, solid aromatic tablets designed to be burned in a special holder, such as a brazier or casket. When burned, they would release their fragrance into the air. The pastilles were a practical and convenient method for perfuming rooms. These could have been made from ingredients like resins, herbs, spices, and essential oils, and were a popular form of aromatic indulgence in homes.

(Chypre-scented bird-shaped pastilles to burn): The Oysellets de Chypre are bird-shaped pastilles, designed to be burned for their Chypre fragrance. The term "Oysellet" (derived from "oiselle," meaning "little bird" in French) refers to the bird-shaped form of these pastilles. When burned, these Chypre-scented pastilles would release the characteristic earthy, woody, citrus, and floral notes associated with Chypre perfumes. The bird shape likely made these pastilles not just functional but also decorative and elegant, further enhancing their appeal as a luxury product. These were likely used in high-society homes or elite settings where the fragrance played an important role in creating an atmosphere of refinement and luxury.

Parfums des Poches:

This collection of "Parfums des poches" includes a combination of luxurious, decorative, and functional items designed for personal fragrance and perhaps therapeutic purposes. The silver censors with their multiple tiers would have been used to carry and diffuse various fragrances, while the balms (including those made from clove, cinnamon, thyme, and amber) were likely topical applications for both scent and health. The amber mixtures further enhance the perfumed experience, likely creating a warm and aromatic ambiance.

Silver Censors with 4 Stages, Decorated (Cassolettes d'argent à 4 estages garnies): These are small, multi-tiered silver censors designed to be carried in a pocket or placed in a specific location to release fragrance. The four-stage design suggests a tiered structure, with each stage likely holding different aromatic substances. The decorative elements on these censors would have been crafted in fine silver, likely featuring intricate engraving or embossing, adding to their luxury and aesthetic appeal. These were likely used by the wealthy for personal fragrance and possibly as a status symbol.

Apoplectic Balm (Beaume apoplectique): The term "apoplectic balm" refers to a medicinal preparation, likely intended for use during apoplexy, a term historically used for strokes or severe health crises. It is unclear whether the balm was meant for therapeutic use in such emergencies or simply had a fragrant, soothing quality. This balm may have been intended to calm nerves or alleviate discomfort associated with such health conditions. It would typically have been infused with soothing herbal oils or resins.

Clove Balm (Beaume de Giroffle): The clove balm would have been a fragrant ointment or salve, made with clove oil, a spice known for its spicy, warm, and slightly sweet scent. Historically, clove balm could have been used for its aromatic properties in personal scenting or possibly for therapeutic uses, such as soothing pain or inflammation.

Cinnamon Balm (Beaume de Canelle): The cinnamon balm would have been another aromatic ointment, this time made with cinnamon or cinnamon oil, known for its warm, spicy scent. Cinnamon was highly prized for both its fragrance and its use in medicinal treatments. In the context of perfumes, this balm would have been used to enhance body scent or provide a comforting aromatic experience.

Thyme Balm (Beaume de Thin): The thyme balm would have been an herbal ointment made with thyme, a fragrant herb known for its earthy, herbaceous aroma. Thyme has a cleansing, antiseptic reputation, and this balm may have been used for both fragrance and medicinal purposes, likely to relieve symptoms of colds or respiratory issues.

Amber Mixtures (Mistions d'ambre): The amber mixtures refer to aromatic preparations made with amber or amber resin. Amber was often used in fragrant compositions due to its rich, warm, and resinous scent. These mixtures may have been used as personal fragrances or in home scenting products, and they could also have been combined with other natural resins or oils to create a lasting fragrance.

Scented Purses & Scented Fans:

These "bourses parfumées" (scented purses) were small ornamental bags or pouches, often designed to carry fragrant materials such as scented powders, sachets, pastilles, or even small flacons. They served both practical and aesthetic purposes—used to perfume clothing or the air around the wearer while also functioning as a luxurious accessory. Their inclusion in a perfumer’s inventory indicates their dual role in both fashion and personal scent. These scented purses were more than just accessories: Used to discreetly carry perfumes or protect against unpleasant odors. Sometimes lined with scented wool or fabric infused with aromatic oils. Commonly placed among linens, inside chests or wardrobes, or carried on one’s person. Often paired with scented fans (though not described in detail here), which were used to waft fragrance while cooling oneself in public or at court. These items illustrate the fusion of fashion, hygiene, and perfumery in the 17th and 18th centuries and reflect the importance placed on personal scent and ornamentation in polite society.

Purses made of Spanish leather, embroidered and decorated: This refers to scented, tanned leather traditionally impregnated with a blend of floral essences (like rose, jasmine, orange blossom), musk, civet, and especially ambergris. Spanish leather was prized for its supple quality and strong, lingering perfume. It was used across Europe for accessories and lined cases, gloves, and personal pouches. These purses featured fine needlework, often using silk threads, gold or silver wire, and sometimes metal sequins or pearls. "Garnis" suggests further adornment such as lace trims, tassels, or jewels.

Purses made of Spanish leather, embroidered: These purses featured fine needlework, often using silk threads

Purses made of plain Spanish leather: Simpler designs without embroidery, highlighting the natural beauty and scent of the leather itself. These would have been more understated but still considered elegant and refined.

Purses made of Spanish leather, embroidered in the Cardinal style: This likely refers to a specific decorative style or color scheme associated with cardinals of the Church, possibly involving deep crimson, purple, or scarlet embroidery, symbolic ornamentation, or ecclesiastical patterns. Both embroidered and plain versions are listed, suggesting a fashion trend or specific clientele.

Purses made of plain Spanish leather in the Cardinal style: Both embroidered and plain versions are listed, suggesting a fashion trend or specific clientele.

Purses with gold backgrounds and pearls: Lavishly decorated pieces, featuring gold-threaded fabric or leather bases and real or imitation pearls. These would have been high luxury items, possibly for court or upper nobility.

All sorts of ordinary purses: More basic designs, likely made from less expensive materials or more modestly decorated. These would have been functional scented pouches accessible to a broader clientele.

"Bijoux ou toute sorte de Galanterie" Jewelry or All Sorts of Trinkets & Finery:

The phrase “bijoux ou toute sorte de galanterie” refers to small luxury items, often associated with elegance, fashion, and refined personal taste. These were not necessarily jewelry in the strict sense but encompassed all kinds of grace notes of dress and demeanor—the kind of accessories that conveyed style, charm, and sophistication. The listed items fall squarely within the domain of perfumed personal accessories, popular from the late 17th to early 18th centuries. These fans reflect the interweaving of beauty, scent, and social ritual in the period. A lady’s fan could speak volumes—literally (there were “fan languages”) and figuratively—as a portable extension of her taste, refinement, and allure. Perfuming a fan meant she left a trace of her presence in the air long after she passed.

Eventails parfumés – Scented Fans: These are handheld folding fans that were perfumed, often delicately scented with floral, herbal, or musky essences. The scent could be applied directly to the paper, silk, or lace of the fan, or even integrated into painted scenes with aromatic resins. The fan served a dual purpose: cooling the face and diffusing fragrance into the air, especially in crowded salons or theatres. A subtle, elegant way for a woman to carry and wear perfume without applying it directly to the skin.

Miniature scented fans: These were small-scale fans, either made as miniature novelties or collectibles, carried in pockets or reticules, oOr scented fan pendants, worn as part of chatelaines or from ribbons at the waist or wrist. They could be decorative trinkets with real functional components, and like full-sized fans, they were often perfumed for personal delight or flirtatious gestures.

Eventails peaux d’Espagne – Fans made of Spanish Leather: Spanish leather (peaux d’Espagne) was not only soft and durable, but scented during tanning with a blend of floral oils, ambergris, musk, and spices. Fans made from this material were naturally perfumed, luxurious, and long-lasting. These fans might have been made entirely of leather or with leather segments between ivory or wooden sticks. Often richly decorated with gilding, embossing, or painted designs, they were status symbols as well as olfactory accessories.

For the Beautification and Preservation of the Complexion of Women:

This inventory represents a luxury apothecary's offerings for facial care and beautification during the 17th to 18th century. Many items were intended to brighten the complexion, mask imperfections, and restore a pale, fashionable appearance, especially after illness such as smallpox. These products reflect the complex interplay between beauty, medicine, and class during the era—where appearance was not only a matter of fashion but of social status, health perception, and even morality.

White balm pomade (Pomade de baume blanc): which evens and preserves the complexion, also good for children marked by smallpox. A soothing white balm, possibly containing beeswax or lard, used to moisturize and even out skin tone, especially after scarring. Mention of children with smallpox suggests it helped cover pitting.

Pearl white pomade (Pomade de blanc de perles) / porcelaine (Porcelain pomade)/ d'Espagne (Spanish white pomade): These were white, tinted creams or ointments made from crushed pearls, porcelain powder, or lead-based “Spanish white”, applied to lighten the complexion and mimic the aristocratic pale look.

White balm water (Eau de baume blanc)/ blanc de perle (pearl white water) / porcelaine (porcelain water)/ d'Espagne (Spanish white water): Waters used similarly to toners or light washes. They were applied to the face to cleanse, tone, and brighten. “Eau de blanc d’Espagne” refers again to lead-based cosmetics.

White virginal milk (Laict virginal blanc) / ordinaire (Ordinary virginal milk): “Virgin’s milk” was a popular cosmetic lotion, often made from vinegar and white lead, used to soften the skin and bleach discoloration.

Queen of Hungary's white water for the face (Eau de la Reyne d'Hongrie): Hungary Water, often made from rosemary and alcohol, was a famous early distilled perfume and skin tonic. This "white" variant may have been specifically for facial brightening.

Citrus water (Eau de Citterée): Likely a citrus-based water, refreshing and slightly astringent, used as a natural toner

Prepared verjuice (Verjus préparé): Sour green grape juice, astringent and skin-tightening, sometimes used to reduce redness.

Prepared ox bile (Fiel de bœuf préparé): Surprisingly, ox bile was used as a cleanser for the skin, especially to dissolve spots or blemishes, thanks to its enzymatic properties.

Myrrh water (Eau de myrrhe): Myrrh-infused water, tonic and antiseptic, used for its preservative and healing properties on the skin.

Cosmetics & Decorative Aids:

Spanish rouge in porcelain (Rouge d’Espagne en porcelaine) / Spanish rouge in leaf form (Rouge d’Espagne en feuille): Highly prized red pigments stored in porcelain pots or as pressed leaves. Applied to the cheeks and lips for the fashionable rosy complexion.

Prepared pearl white (Blanc de perle) / Prepared porcelain white (Blanc de porcelaine) / Spanish white (Blanc d’Espagne): These were white face powders made from crushed pearls, porcelain, or more commonly white lead (Spanish white). Applied to create the coveted pale, powdered look of the upper classes. However, frequent use, especially of lead-based whites, was dangerous and toxic.

Fine and common beauty patches (Mouches fines & communes): These were small patches of black silk, taffeta, or velvet, often in shapes like stars or hearts, worn on the face to highlight the paleness of the skin, cover blemishes, or convey flirtation or social cues.

English gum (Gomme d’Angleterre): a gum tragacanth, used to adhere beauty patches or powder.

Velvet masks with prepared skin for the face (Loups de velours avec une peau préparée): Velvet face masks with a layer of prepared skin or leather for comfort or medicinal use—possibly worn during travel or used as beauty treatments, protecting the skin after application of pomades or powders.

Prepared fabric facial masks (Toiles des masques préparée pour le visage): Cloth masks prepared for facial application, likely infused with treatments to whiten, soften, or tone the skin.

For Whitening the Teeth:

This list refers to 18th-century dental care and cosmetic tooth-whitening products, a blend of natural abrasives, botanical preparations, and early oral hygiene tools used by both men and women of means. These items together formed an early cosmetic dental kit, reflecting the era’s emphasis on oral beauty and hygiene, especially among the fashionable elite. White, well-kept teeth were a mark of refinement, and many of these materials would have been sold in luxury apothecaries or perfumeries.

Oppiatte pour blanchir les dents – Opiate to Whiten the Teeth: This refers to a thick, paste-like substance, similar to modern toothpaste, but often made with mild abrasives like powdered coral, oyster shells, burnt bread, or even cuttlefish bone. These substances were rubbed on the teeth to remove discoloration and produce a white, polished appearance. The term "opiatte" suggests a balm or thick preparation, not related to opium despite the name similarity.

Oppiatte en bâtons – Opiate in Stick Form: This was likely a solid form of the same paste, hardened into a stick or rod, rubbed directly on the teeth or onto a cloth or sponge. This made the product more portable and convenient, especially for travel or quick use.

Poudre de Corail préparée – Prepared Coral Powder: Finely ground red or white coral, prized for its mild abrasive qualities, was often added to dental pastes or powders. Coral was believed to strengthen the gums and teeth, and its slight abrasiveness helped scrape away plaque and stains. It was also thought to have tonic or purifying properties in early medicine.

Bâtons de Guimauve – Marshmallow Root Sticks: These were thin twigs or peeled sticks from the althea (marshmallow) plant, used like natural toothbrushes. The root has a mucilaginous texture when chewed, releasing soothing agents believed to help with gum inflammation and to cleanse and polish the teeth gently. A common herbal remedy.

Esponges pour les dents – Sponges for the Teeth: Small, soft natural sponges were used to rub pastes or powders onto the teeth. They offered a gentler method than sticks or cloth, especially for sensitive gums. Sometimes sponges were attached to ivory or silver handles for ease of use and refinement.

"Eaux pour faire sentir bon" (Waters to Smell Pleasant):

These fragrant waters belonged to a toilette ritual of the 17th–18th centuries, designed to cleanse, refresh, and delicately perfume the skin, hair, and linens. They were typically alcohol-based distillates or lightly scented aqueous solutions and were popular before the widespread use of modern alcohol-based perfumes. These eaux were part of a refined daily grooming ritual and reflect the intersection of perfumery, hygiene, and medicinal practice in early modern Europe. They were typically sold in glass or porcelain bottles, sometimes with gilded stoppers or labels, and were valued not only for their aroma but also for their cooling and tonic effects on the skin.

Eau d’Ange musquée – Musk Angel Water: A variant of the famous "Eau d’Ange" (Angel Water), but enhanced with musk, a prized ingredient in perfumery for its soft, animalic warmth. Angel Water was traditionally a soothing, fragrant water made with rose, orange blossom, and sometimes herbs like rosemary or myrtle. The addition of musk gave this version greater depth and sensuality, making it suitable for use on skin or handkerchiefs, especially in cooler months.
Corps d’eau d’Ange – Base or concentrate of Angel Water: This was the concentrated essence or core blend of Eau d’Ange, intended either to be used on its own for stronger effect, or diluted to make more fragrant water. Apothecaries and perfumers often sold such bases to customers who could customize their waters or use them to scent pomades, powders, or sachets.

Eau de la Chartreuse – Chartreuse Water: Named after the Carthusian monks of the Grande Chartreuse monastery, who were known for their herbal elixirs and liqueurs. Chartreuse Water was likely a complex herbal distillation, possibly inspired by or even produced by the monks, and would have had a refreshing, aromatic scent—perhaps containing rosemary, mint, sage, lemon balm, and lavender. It may have been seen as both invigorating and medicinal, suitable for personal scenting or for wiping down the body.

Eau de Mille Fleurs – Water of a Thousand Flowers: A romantic and poetic name for a fragrant blend that likely included a large variety of floral essences, often rose, violet, orange blossom, jasmine, tuberose, and others. These waters were considered luxurious and feminine, used to perfume skin, hair, gloves, or handkerchiefs, and may have also been added to bathwater. Despite the name, it didn’t contain a literal thousand flowers, but suggested an idealized bouquet.

Eau de Fleur d’Orange – Orange Blossom Water: A long-standing favorite in both perfumery and culinary use, this distilled floral water is made from bitter orange blossoms (Citrus aurantium var. amara). It was used as a facial tonic, a linen spray, or to scent wigs and powders. Orange blossom water was also known for its calming properties, sometimes used before sleep or to refresh the complexion.

Eaux pour la santé (Waters for Health):

These items belong to the category of medicinal or therapeutic waters, widely used in early modern Europe for both internal and external health applications. Their preparation was rooted in Galenic and monastic traditions, often combining herbal distillates, alcohol, and aromatic essences.These health waters bridge early pharmacy and perfumery, showing how aromatic herbs and alcohol served both cosmetic and curative roles. They reflect a time when scented and alcoholic preparations were considered part of everyday wellness, combining sensory pleasure with practical function.

Eau de la Reyne d’Hongrie – Queen of Hungary’s Water: One of the earliest known alcohol-based perfumes and tonic elixirs, dating to the 14th century. Originally reputed to have been made for Queen Elizabeth of Hungary, it was used to preserve youth and relieve gout. Recipes typically included rosemary, thyme, lavender, marjoram, and alcohol (often grape spirit or brandy). It was used externally as a rub or facial tonic and occasionally taken internally in small amounts as a restorative. It’s historically important as a precursor to modern eaux de Cologne and toilet waters.

Fioles de Crystal – Crystal Vials: This refers not to a water but to the containers in which these therapeutic waters were stored. Crystal vials were prized for their clarity, non-reactivity, and aesthetic appeal. These would often be stoppered and sealed to preserve volatile ingredients. Used for high-value remedies, particularly those intended for aristocratic or courtly use.

Eau de Thym – Thyme Water: A distilled water or herbal infusion of thyme (Thymus vulgaris), valued for its antiseptic, antifungal, and respiratory properties. Taken as a digestive tonic, used in mouthwashes, or applied to the skin for sores and wounds. Thyme water was common in both domestic and apothecary settings, believed to purify the blood and ward off illness.

Esprit de Vin – Spirit of Wine: An old term for ethyl alcohol distilled from wine, used as a solvent, antiseptic, or carrier for herbal extracts. Frequently used in the preparation of tinctures, cordials, and perfumed waters. Also employed to clean wounds, disinfect surfaces, or stimulate circulation when applied externally. In perfumery, it acted as the base in alcohol-based perfumes and eaux de toilette.

Eaux de Vie – Waters of Life (Alcoholic Distillates): Strong fruit-based alcoholic distillates (e.g., from grapes, plums, cherries), often taken medicinally. Regarded as invigorating, these were used to revive fainting persons, stimulate digestion, or counter chills. The term later evolved into what we now recognize as brandy or fruit eaux-de-vie.

Sirops pour rafrechir (Refreshing syrups):

These "sirops pour rafraîchir" were lightly sweetened, often floral or fruit-based syrups intended for cooling refreshment—either taken alone, mixed with water, or added to drinks. They were popular in apothecaries and elegant households during the 17th and 18th centuries, particularly in warmer months, and often served medicinal as well as pleasurable purposes. These syrups illustrate how refreshment and beauty care overlapped in historical perfumery and apothecary practices, where ingredients served both internal and external uses, and flavor often carried therapeutic or symbolic associations.

Syrup of perfumed maidenhair (capillaire) (Sirop de capillaire parfumé): Made from the maidenhair fern (Adiantum capillus-veneris), traditionally steeped and sweetened. The "parfumé" version was enhanced with added fragrance, possibly floral or citrus, and was thought to be soothing for the chest and respiratory passages.

Syrup of maidenhair with orange blossom (Sirop de capillaire à la fleur d'orange): This variation incorporated orange blossom water, a common ingredient in 17th–18th century French confections and cosmetics, lending a delicate floral taste and calming properties. It was also seen as beneficial to digestion.

Ordinary maidenhair syrup (Sirop de capillaire ordinaire): The plain or standard preparation of maidenhair syrup without added aromatics. It was widely used as a base for drinks or for medicinal recipes.

Pomegranate syrup (Sirop de grenade): Pomegranate syrup, prized both for its refreshing tart-sweet flavor and its vibrant color. It was often used in cooling drinks and regarded as mildly astringent and restorative.

Violet syrup (Sirop de violette): Violet syrup had a floral, candy-like taste and pastel hue. It was used in drinks, desserts, and sometimes for soothing sore throats or calming the nerves.

Citron Vinegar (Aigre du Cedro): Literally “sour of citron,” this likely refers to a citrus vinegar or acidulated syrup made from cédrat (citron). It would have been added to drinks or used medicinally, possibly in digestive preparations or as a refreshing tonic.

Perfumed soaps (Savonnettes Parfumées):

These "savonnettes parfumées" were perfumed toilet soaps, categorized by both size and quality, and reflect the 18th-century (and earlier) French emphasis on both luxury grooming and tiered product offerings to suit different clients or uses. These items show how personal hygiene and scented luxury were deeply interwoven in historical beauty practices. The use of precious ingredients like ambergris or neroli also points to the high value placed on scent as a marker of elegance and status.

Large amber-scented soaps (Savonnettes grosses à l’ambre): These were large-sized soaps scented with ambergris, a rare and expensive fragrance ingredient prized for its warm, animalic sweetness and fixative properties. The "grosses" (large) version suggests a luxurious, long-lasting bar, possibly molded or wrapped with decorative presentation for refined clientele.

Ordinary amber-scented soaps (Savonnettes ordinaires à l’ambre): A more ordinary or modest version of ambergris-scented soap, likely smaller or made with less costly materials but still retaining the association with refinement and exotic luxury.

Large neroli-scented soaps (Savonnettes grosses de Neroli): These large soaps were scented with neroli, the distilled oil from bitter orange blossoms. Neroli was (and remains) a favored perfume for its fresh, floral, and uplifting scent. The large size again suggests a deluxe version for display or extended use.

Ordinary neroli-scented soaps (Savonnettes ordinaires de Neroli): A more accessible form of neroli soap, suitable for everyday use, possibly with a lower concentration of fragrance or simpler base formulation.

Common soaps (Savonnettes communes): These were common or standard soaps, unscented or lightly scented, and likely meant for basic cleansing. They would have been used more frequently by the general population, servants, or for utilitarian purposes.

Sponges for the face (Esponges pour le visage): Facial sponges, often made from natural sea sponge, were used to gently cleanse the skin. In the toilette ritual, they were important for both applying and removing cosmetics, washing with perfumed waters or soaps, or administering skincare treatments.

Scented Refreshments & Liqueurs (Boissons & Liqueurs):

The category Boissons & Liqueurs includes a range of delicately flavored and often perfumed refreshments—some liqueurs, others syrups or distillations. These beverages were not merely for hydration or pleasure, but also part of a refined lifestyle where taste, aroma, and health benefits were blended. These items reflect a luxurious and multisensory experience of refreshment where fragrance, taste, and even health were intertwined. The use of ambergris, floral waters, and spices across both perfumed waters and edible products demonstrates how blurred the lines were between cosmetics, medicine, and cuisine in early modern Europe.

Rossoli from Turin of all kinds (Rossoli de Turin de toute sorte): "Rossoli" or rosoglio is a sweet liqueur originally from Italy (Turin being a major center), typically made with alcohol, sugar, and aromatic flavorings such as rose, orange flower, or spices. The phrase “of all kinds” implies a variety of flavors or styles were available.

Rossoli made with flower water and ambergris (Rossoli d’eau de fleurs & ambré): A rosoglio made specifically with flower water (such as orange blossom or rose) and ambergris, an extremely rare and expensive ingredient prized for its musky, marine scent. This was likely a delicately perfumed cordial meant to delight both palate and nose.

Amber-scented Angelica (Angélique ambré): A liqueur or syrup made with angelica root, which has a sweet, musky, herbaceous flavor, here enhanced with ambergris. Angelica was also thought to have medicinal properties, so this may have straddled the line between cordial and tonic.

Thousand Flowers Water (Eau de Mille Fleurs): Literally “water of a thousand flowers,” this could refer to either a perfumed floral water or a lightly sweetened floral beverage, distilled or infused from a bouquet of aromatic blossoms. These types of waters were popular for both drinking and as beauty tonics.

Amber-scented red Eau de Cette (Eau de Cette rouge ambré) and Amber-scented white Eau de Cette (Eau de Cette blanche ambrée): Cette refers to the French port town (now called Sète), which was associated with exotic imports. These were red and white eaux (waters or liqueurs), likely wine- or spirit-based, infused with ambergris and possibly other regional aromatics. The red may have had spice or fruit additions, while the white was likely lighter in flavor.

Perfumed red cinnamon water (Eau de Canelle rouge parfumée) and Perfumed white cinnamon water (Eau de Canelle blanche parfumée): Perfumed red and white cinnamon waters, likely alcohol-based cordials or syrups flavored with cinnamon—a prized spice in both culinary and medicinal contexts. The red variety could have been colored with cochineal or included red wine, while the white was likely clearer or paler and distilled with white spirits.

Chocolate (Chocolat): This refers to prepared, flavored chocolate, most likely in liquid form. In the 18th century and earlier, chocolate was consumed as a rich, spiced drink, often enhanced with cinnamon, amber, or floral notes.

Coffee & tea, prepared and perfumed (Cophé & Thé préparé & parfumé): Coffee and tea, prepared and scented, possibly with orange blossom, rose, or spices such as cardamom or cinnamon. Flavored coffees and teas were part of elite rituals and were considered not only delicious but invigorating and exotic.

Scented Powdered Tobacco (Tabac en poudre parfumé):

This list details scented powdered tobacco, or snuff, which was widely consumed in the 17th and 18th centuries, particularly among the fashionable and aristocratic classes. Snuff was inhaled through the nose, offering not only a nicotine hit but also a highly fragrant experience—often regarded as both stimulating and refined. The addition of precious scents elevated the act of snuff-taking to a luxury ritual. Scented snuff was more than just a recreational product—it reflected status, taste, and cosmopolitan sensibility. The elaborate perfumes blended into these tobaccos echoed the baroque and rococo love of olfactory richness and layered experience. Snuffboxes themselves became prized art objects, sometimes decorated in enamel, gold, or porcelain to match the elegance of the product within.

This list offers insight into the highly specific preferences of snuff users and the range of custom-perfumed options that once existed, tailored to different national or regional styles and olfactory profiles.

Pogibonci tobacco with ambergris/musk/ambergris: (Tabac de Pogibonci): Refers to tobacco associated with Poggibonsi, a town in Tuscany, Italy. While not typically known as a tobacco center, the reference here may denote a specific blend or Italian-style snuff. These came in: Ambergris: Warm, marine, and animalic, used for its rarity and depth. Musk: A sensual, heavy scent once derived from the musk deer. Flowers: Likely rose, jasmine, or orange blossom essences.

Frangipani tobacco with musk/flowers/ambergris (Tabac de Franchispane): Frangipani was both a perfume and plant. The term in this context refers to a perfume blend, historically derived from a noble Italian family’s scented glove formula. These snuffs were: Scented with ambergris, musk, or floral extracts (or all three), making them rich, exotic, and complex.

Maltese tobacco with musk/ambergris/flowers (Tabac de Malthe) Refers to tobacco from or inspired by Malta, a known Mediterranean port with access to both African and Levantine aromatics. Again, offered in: Ambergris, musk, and floral variants.

Spanish tobacco with ambergris/musk/flowers (Tabac d’Espagne): Spain was a major player in the transatlantic tobacco trade, and Spanish tobacco was often associated with high quality. The Spanish snuff here is perfumed: With ambergris, musk, and flowers, echoing Moorish and colonial influences.

Neroli tobacco (Tabac de Nerolli): Scented with neroli, the essential oil from orange blossoms, this would have had a light, floral-citrus profile. Neroli-scented snuff would appeal to those preferring something more delicate and elegant.

Perfumes of various herbs:

This section refers to herb-scented textile items, many of which served both practical and aromatic purposes in domestic and personal life—especially among the upper classes in the 17th and 18th centuries. These items were filled with dried, fragrant herbs and flowers, often sewn into finely worked or embroidered fabrics, to impart pleasant scents to garments, furniture, and living spaces.

Embroidered toilet accessories of various herbs (Toilettes en broderie d'herbes sortes): These were likely decorative cloths or covers used during the toilette ritual, which involved grooming and dressing. Embroidered with fine needlework and infused or lined with fragrant herbs (such as lavender, rosemary, or chamomile), they added both beauty and aroma to the ritual. Such items may have also served a hygienic purpose by masking unpleasant odors)

Large quilted cushions called "Sultans" of various herbs (Carreaux piqués appelés Sultans grands d'herbes sortes): The term Sultan here refers to a type of plump cushion, popularized in orientalist decor trends. These "grand" versions were large, embroidered or quilted, and stuffed with aromatic herbs, perhaps for use on chairs, chaises longues, or even as decorative floor pillows in boudoirs or salons.

Small quilted cushions called "Sultans" of various herbs (Carreaux piqués appelés Sultans petits d'herbes sortes): These were smaller versions of the above, possibly used on vanities or beds, or even tucked into clothing storage areas to keep linens or garments fresh and perfumed.

Bed cushions of various herbs (Carreaux de licts d'herbes sortes): Likely placed beneath pillows or among bed linens, these herb-filled cushions would have served a relaxing and deodorizing function, offering sleep-inducing or insect-repelling properties, depending on the herbal blend used.

Pocket cushions of various herbs (Carreaux de poches d'herbes sortes): These small, sachet-like items were carried on the person, perhaps tucked into pockets or corsets. They served as portable sources of fragrance and were thought to ward off illness (by purifying the air) in a time when miasma theory was prevalent.