The History of Pomanders

The history of perfume would be incomplete without recognizing the significance of the antique pomander—a small, yet deeply symbolic object that merges function, beauty, and belief. The word pomander derives from the French "pomme d'ambre," meaning amber apple, a name that reflects both the shape and the early contents of these fragrant objects. These were not simply vessels for scent—they were protective talismans, worn or carried to guard against illness and foul air during centuries when hygiene was rudimentary and disease often misunderstood.

The earliest pomanders were not ornamental cases at all, but balls of ambergris—a rare, waxy substance produced in the digestive system of sperm whales and highly prized for its fixative qualities. These ambergris spheres were infused with spices and herbs such as clove, cinnamon, nutmeg, and sometimes even musk or civet. When held in the hands or kept in a warm pouch, the body's heat would release their potent fragrance, creating a subtle aura of perfume around the wearer. These early forms were as much a sensory comfort as they were a perceived shield against miasmas and contagion.

Over time, for both practicality and elegance, artisans began to create dedicated pomander cases, also referred to simply as "pomanders." These were often spherical or ovoid containers, made of precious metals like silver or gold, sometimes divided into compartments for holding multiple scented materials. Tiny perforations allowed the fragrance to escape gradually. Worn on chains, girdles, or rosaries, or carried in the hand, these cases became a staple of late medieval and Renaissance fashion among the wealthy, especially in courts across Europe.

Pomanders were more than luxury accessories—they were objects of status and symbolism, often gifted as tokens of esteem or love. The blend of aromatic and animal-derived substances within spoke to the intersection of medicine, superstition, and perfumery. As perfume evolved into the bottled art form we recognize today, the pomander stands as a vital ancestor—a small, portable precursor to the modern notion of wearing scent as a form of personal protection, adornment, and identity

The pomander, though small in scale, is a treasure trove of historical and artistic significance. While their contents offered olfactory protection and pleasure, their form and craftsmanship varied widely—ranging from the purely utilitarian to the exquisitely ornate. The most familiar and enduring shape was globular, inspired by the very concept of a pomme, or apple. These spherical pomanders often opened like a peeled orange, revealing segmented partitions within. Each compartment could be filled with a different spice or aromatic resin, allowing for a complex, multilayered fragrance experience. This segmented design was directly influenced by the humble, clove-studded orange pomander—a popular household air freshener rolled in spices and hung in closets or parlors to ward off musty odors.

More sophisticated pomanders, however, were masterpieces of decorative arts. Some were made of filigree silver or gold, their surfaces ornately perforated with lacy scrollwork to allow the scent to gently diffuse. The wealthiest patrons could afford precious metals like gold, silver, or ivory, often further adorned with enameled tracery, miniature portrait plaques, or even jewel settings. Chasing and engraving enhanced their surfaces with scenes of flowers, fruits, mythological figures, animals, and intricate arabesques, elevating the object from mere scent container to jewel-like adornment.

A fascinating subset of pomanders included multifunctional devices, combining the perfume compartment with needle cases, tiny perfume bottles, compasses, vinaigrettes, or snuff holders. These all-in-one creations reflected the values of a society where practicality met luxury. For those who could not afford the splendor of precious metals, pomanders were also crafted in brass, carved wood, or even nut shells, proving that personal scent and protection from illness was a concern across social classes.

Pomanders were typically worn suspended from a chatelaine, bracelet, belt, necklace, or finger ring, though some were small enough to be carried in the pocket. This portability made them both functional and fashion-forward, with scent always at the ready. Larger versions, known as pouncet boxes, were designed for tabletop use or affixed to walking canes—especially those used by clergy or physicians visiting the ill. These boxes often contained a sponge soaked in aromatic vinegar, a blend believed to ward off infectious air. Intriguingly, nobles and royalty sometimes carried ceremonial staves topped with miniature pouncet boxes, suggesting that even in courtly rituals, the symbolism of scent—of life, purity, and divinity—was never far away.

Thus, the pomander is more than a scented bauble—it is a lens through which we can glimpse the confluence of medicine, beauty, social status, and craftsmanship in centuries past.

During the Great Plague, particularly the catastrophic outbreak of 1665–1666 in London, the fear and desperation of the population reshaped daily life—and among the most enduring responses was the widespread use of pomanders and aromatic vinegars. The plague, also known as the bubonic plague, had already devastated Europe centuries earlier during the Black Death of the 14th century, which killed an estimated 25 million people—roughly a third of Europe’s population. But in the 17th century, its return brought renewed panic and an urgent reliance on whatever remedies were thought to offer protection.

At the time, medical understanding of disease was primitive, and the dominant theory of infection was miasma. This idea, which dates back to Hippocratic and Galenic traditions, held that foul-smelling air—or “bad air” (from the Greek word miainein, meaning “to pollute”)—carried invisible poisons that seeped into the body through the nose or pores, causing illness. Miasma was believed to emanate from rotting matter, stagnant water, refuse, or even crowds of people, especially in poor or dirty areas. Disease was, in essence, smelled before it was seen.

In this context, pomanders and aromatic vinegars became more than personal luxuries—they were urgent tools of survival. People of all classes, from nobles to street vendors, turned to these fragrant solutions to create a barrier between themselves and the poisoned air. Pomanders—small, perforated containers filled with spices, herbs, or balls of resin and ambergris—were worn around the neck, suspended from belts, or held to the nose when walking in public. Their purpose was twofold: to mask unpleasant smells and to “cleanse” the air before it entered the body.

Aromatic vinegars, often infused with herbs like rosemary, sage, rue, lavender, and cloves, were similarly valued. These were used to soak sponges inside pouncet boxes or applied to handkerchiefs and face masks, allowing the user to inhale what they believed was protective, purifying vapor. Some physicians carried long canes with pomanders or vinegar-soaked sponges at the tip, and famously, plague doctors wore the now-iconic bird-beak masks, which held aromatic substances in the beak to shield the wearer from deadly miasmas.

Unlike today's understanding—rooted in germ theory, developed in the 19th century by pioneers like Louis Pasteur and Robert Koch—people in the era of the Great Plague had no concept of bacteria, viruses, or pathogens. They had no antibiotics, no antiseptics, and no vaccines. Without this knowledge, olfactory defense became a logical and culturally accepted method of protection. While we now know that the plague was spread by fleas carried by rats, or in some cases via airborne pneumonic transmission, the population of the time could only rely on their senses and the medical advice of the day.

Thus, the increased use of pomanders and vinegars during plague times reflects not only the scientific limitations of the period but also a deep human need for agency and comfort in the face of invisible terror. Sweet and pungent scents were believed to hold back death itself—and in that belief, they became powerful symbols of hope, resistance, and the enduring link between scent and safety.

In the 1799 publication The Philosophy of Medicine, the author critically observes that pomanders prescribed by the College for the wealthier class were sometimes filled with ingredients such as lignum aloes—a resinous, fragrant wood known for its deep, rich scent. However, when enclosed in a tightly sealed ivory case, lignum aloes served no real purpose. Its fragrance, as the text points out, could only be released when the material was either heated or burned, meaning its use in a closed pomander was purely symbolic or based on outdated medicinal thinking. In contrast, the author notes more practical uses among the people of Aleppo, who carried labdanum, a sticky resin with a warm, ambery scent, in their hands or relied on vinegar infused with rue, a pungent herb long associated with protection against infection. These simpler, more direct applications show how scent was not just a luxury but a functional response to environmental and public health threats.

Pomanders were not reserved only for times of plague or illness—they were part of everyday survival in filthy urban environments. The cities of early modern Europe were notorious for their lack of sanitation. Open sewers, overflowing chamber pots, rotting refuse, and animal dung from horses, pigs, and livestock filled the air with a constant stench. Waste disposal was rudimentary at best—there was no organized garbage collection, and in many cities, people simply emptied their waste into the street or nearby waterways. As a result, the urban landscape was not only visually chaotic but olfactorily overwhelming, particularly in the summer heat. The pomander offered a portable reprieve: it could be held discreetly beneath the nose to mask the acrid smells of the street and preserve one’s dignity while walking through the city.

Shapes & Types of Pomanders:

The word pomander, as we’ve explored, comes from the French pomme d’ambre, or “apple of ambergris.” Ambergris, a rare and waxy substance formed in the digestive tracts of sperm whales and prized for its musky, marine scent, was a frequent component of these aromatic devices. Ambergris was not just valued for its fragrance but was also believed to ward off disease, adding a medicinal and magical function to the pomander’s pleasant odor. The word “apple” refers not to the ingredient, but rather to the shape of the container. Pomanders were often fashioned in spherical forms reminiscent of apples, pears, or pomegranates. These fruit-shaped cases symbolized life, fertility, and bounty—though the pomegranate also carried associations with death and rebirth in certain traditions.

Beyond fruit forms, pomanders came in a wide variety of creative and symbolic designs. Some were shaped like books, urns, vases, acorns, or eggs, reflecting their wearer’s identity, station, or beliefs. The most striking designs were those made in the shape of memento mori skulls, reminding the bearer of mortality and the transient nature of life. Even more elaborate examples might be fashioned as sailing ships, hinting at travel and trade routes where exotic spices and resins were sourced. Whether simple or ornate, the pomander was far more than a perfume container—it was an object of personal protection, social status, spiritual reflection, and sensory relief in an age when smell was inseparable from the experience of daily life.

Segmented pomanders—those ornate, globe-like containers designed to open into separate aromatic compartments—often reflect a deep level of personalization and intentionality. In particular, German examples from the early modern period are known for their labeled partitions, which indicated the specific material housed within each segment. These labels, often inscribed in early or regional spellings of German, offer a fascinating glimpse into both the botanical diversity and cultural symbolism that informed their use.

For example, a typical pomander might contain "Rosen" (rose), chosen not only for its classic floral scent but also for its longstanding associations with love, purity, and divine beauty. "Ruten" (rue) was included for its sharp, medicinal fragrance and its ancient reputation as a ward against illness and evil. "Citronen" (lemon) added a bright, clean note—refreshing and bracing, believed to cleanse the air. "Rosmarin" (rosemary), with its sharp green herbaceousness, was linked to memory, loyalty, and funerary rites.

Other labeled compartments might read "Muskaten" (nutmeg) or "Canel"/"Zimbt" (cinnamon)—precious spices from the East with warm, sweet, and spicy aromas, prized not only for their exotic appeal but for their supposed strengthening properties. "Augstein" referred to amber, which offered a resinous, calming scent, while "Schlag" signified a compound mixture of ambergris, musk, and civet—a rich animalic blend designed to cling to the skin and perfume it deeply. "Thymian" (thyme) and "Majoran" (marjoram) provided dry, herbal complexity, and "Jnger B" (ginger balsam) offered spicy warmth. "Lavendel" (lavender) gave its calming floral freshness, while "Annis" (anise) added a sweet, licorice-like character. Other examples included "Meiraen" (myrrh)—earthy, balsamic, and sacred—and "Saffran" (saffron), which was expensive, golden, and slightly leathery in scent.

Some pomanders carried inscriptions of liturgical names such as Mateus, Johannes, Lucas, and Marcus—a clear Christian invocation of the four Evangelists, suggesting the pomander’s purpose may have extended into spiritual protection. Others bore the names of mythological figures, including Venus, Juno, Minerva, and Paris. These classical references indicate a humanist or scholarly influence, reflecting the interests of elite owners who might have wanted to associate their olfactory possessions with themes of love, wisdom, war, and beauty.

Thus, these labeled pomanders were far more than containers of pleasant scent; they were carefully curated microcosms, filled with symbolic and functional botanicals, reflective of medical theory, religious devotion, personal identity, and mythological imagination. Each compartment offered its own olfactory experience, allowing the user to respond to changing moods, health concerns, or social occasions by opening different segments as needed.

Historical dictionaries and literary references offer us a rich understanding of how the pomander—or “pomme d’ambre”—was perceived, named, and defined across centuries and languages. These sources reveal the pomander’s practical and symbolic role, not only as a fragrant object but also as a protective amulet and a social accessory.

In the 1650 edition of A Dictionary of the French and English Tongues, the pomander is plainly described as a “sweet ball,” or in French, “pomme de senteur.” This translation emphasizes both its form and function: a ball-shaped item whose main purpose is to emit pleasant scent. “Pomme” refers directly to its round shape—apple-like—and “senteur” to its fragrance. This encapsulates the dual charm of the pomander: a portable source of olfactory delight and an object of ornamentation.

By 1677, the Large Dictionary expanded on this by describing the pomander or “sweet-ball” not only as a perfumed item but more importantly as “a preservative against some evil.” This affirms the period's belief in miasma theory—the idea that bad air caused illness—and reflects how pomanders were viewed as a line of defense against disease. A sweet smell, it was believed, could purify the surrounding air and offer the wearer protection.

The 1770 edition of A New Complete English Dictionary defines the pomander as “a little round ball made of several perfumes; a musk ball.” This description underlines the ingredients and shape, specifically highlighting musk—a prized material in perfumery with strong, long-lasting animalic scent—often used as a fixative in combination with other fragrant substances. The use of the term “little” suggests that pomanders were commonly small enough to be worn on the body or carried by hand.

Also from 1770, the literary work Ancient Scottish Poems interprets the term “pomme d’ambre” as referring to “an amber bead in shape and colour like an apple,” tying it directly to its etymological roots. The word “pomander” thus evolved from a literal interpretation of form and material—an amber-like orb—to a general term for any fragrant ball made from a mixture of perfumed substances.

The Arzneiwissenschaftliches Wörterbuch (1788) provides a detailed, scientific-style German explanation of the pomander: “Pomambra, Pomum ambrae, Geruchball ein wolriechender Ball… aus Ambra und andern wolriechenden Substanzen zusammengesetzt ist.” Translated, this describes the pomander as a “scent ball” composed of ambergris and other fragrant substances. The ingredients listed—gray amber (ambergris), musk (Bisam), civet (Zibeth), labdanum, benzoin, storax, cinnamon oil, and spices—reflect its rich aromatic complexity. These substances were bound together using gum mucilage to form apple-sized balls, designed to emit a pleasant smell and thus protect against foul air. The entry also connects the term to related objects: pastille (a scented pellet) and Reuk-bal (Dutch for smell ball), confirming its widespread cultural use.

Together, these sources chart the evolution of the pomander from a functional object of medicinal and aromatic utility to a more symbolic and luxurious item, adorned with craftsmanship and carrying deep cultural resonance. Whether labeled as a “sweet-ball,” “musk ball,” or “Geruchball,” the pomander served as a portable shield against illness and foul odor—at once a medical tool, a fashion statement, and a fragrant artifact of its time.

Elizabethan Period:

The Elizabethan and Renaissance periods were golden ages for the creation and appreciation of exquisitely crafted pomanders. These eras saw the transformation of the pomander from a utilitarian object meant to ward off disease and foul air into a luxurious and highly fashionable accessory. Pomanders of this time were often made of precious metals—gilded silver or gold—and richly adorned with gemstones, enameled details, and sometimes tiny portraits or symbolic engravings. Their status as both ornament and olfactory tool made them ideal possessions for nobles and royalty, and they appear in numerous period portraits, often prominently displayed on the body or suspended from elaborate girdles or chains.

Queen Elizabeth I, in particular, was known to be fond of pomanders, and historical records document several examples associated with her. According to The Reliquary and Illustrated Archaeologist (Volumes 5–6, 1867), Queen Elizabeth is said to have received multiple pomanders as gifts, some of which are visible in portraits. She is also recorded to have been presented with richly perfumed gloves—another novelty item of scent—that she delighted in so much she was painted wearing them. These gloves were associated with the Earl of Oxford, who, after returning from Italy, introduced several foreign luxuries to England including sweet bags, perfumed leathers, and gloves scented with exotic aromas. The fragrance associated with these gifts even came to be known as the "Earl of Oxford’s perfume."

Elizabeth was often depicted with a pomander in hand or suspended from her girdle. On one occasion, she is described as having been delighted by a “faire gyrdle of pomander”—a strand of small perfumed orbs strung together, worn around the waist or neck. These were held up to the nose and inhaled from time to time, thought to protect the wearer from infectious air. Period texts support this idea: the same 1867 volume quotes a play offering a recipe for a high-quality pomander using garden mold steeped in rosewater, mixed with ingredients like labdanum, benzoin, ambergris, storax, civet, and musk—all carefully formed into a ball. As the text wryly notes, it was so effective that it would "make you smell as sweet as any lady’s dog.”

The popularity of pomanders is echoed in contemporary poetry and satire. Michael Drayton’s Queen of Cynthia mentions how people made the ground she walked upon into pomanders for sale—a poetic metaphor indicating the craze for anything associated with her or the sweet scents of the time. Satirical woodcuts such as the Scaphae Fatuarum Mulierum (1502), or Boat of Foolish Women, featured women overly reliant on their senses, including one sniffing a pomander while gathering flowers—a visual commentary on vanity and the luxury of scent.

More than three centuries later, in 1864, the perfumery firm Piesse and Lubin recreated one of Queen Elizabeth I’s pomanders. A newspaper advertisement announced their “Queen Elizabeth’s Pomander”, described as an “exact copy of the Pomander, or Scent Casket, as worn by Elizabeth, suspended from her girdle.” Crafted with gilt metal in an ovoid shape, it was decorated with cast foliate designs and featured six small oval porcelain plaques each hand-painted with portraits of young women. This miniature masterpiece measured just 7.5 cm (3 inches) in height and housed six "prophylatick odours of rare excellence." Its production was officially sanctioned by the Lords Commissioners of Science and Art, and it was modeled after an original held in the Kensington Museum (now part of the Victoria and Albert Museum). Sold for £3.2s—a considerable sum at the time—it was on display at Piesse & Lubin’s fashionable shop at 2 New Bond Street, London.

This recreation not only reflects the enduring fascination with Elizabethan culture and luxury, but also the pomander’s evolution—from an aromatic necessity against illness to a romanticized symbol of historical elegance and courtly life.

Ingredients:

Inside a pomander one could find the following substances, mostly in a dried or resinous form, original period appropriate names are shown in parenthesis:

Agarwood

A complex, resinous heartwood with deep woody, sweet, and spicy overtones. Treasured since ancient Egypt, agarwood was burned as incense to calm the mind, enhance focus, and support meditation. Its purity and mystique made it incredibly costly—among the world’s most expensive natural materials—sourced from Aquilaria trees in Southeast Asia. 

Ambergris (“amber greese / aurum / elimpium”)

Waxy and marine, ambergris combines sensual muskiness with a salty sweetness. Valued for its fixative power, it prolonged the scent of other ingredients. Historically believed to ward off disease, its true benefit was as a perfume stabilizer. It came from the North Atlantic or Indian Ocean and was extremely rare and valuable 

Aromatic Aloes (“agallochum”)

A fragrant resin with a warm, smoky, woody aroma. Believed to calm and protect, it likely had mild antiseptic use. Sourced from agarwood trees, it was as rare and precious as agarwood itself .

Balm (“baum”)

Typically balm of Gilead or similar—sweet, herbal, slightly piney. Presumed to purify air and heal minor infections; modern use confirms its mild antimicrobial properties. Likely imported from the Eastern Mediterranean at moderate cost.

Basil

Sweet, green, slightly peppery. Thought to bring health and attract love. Today we know basil has antibacterial qualities and supports the respiratory system. Widely available—grown in European and Mediterranean gardens.

Bay Leaves

Warm-spicy and camphoraceous. Believed to ward off evil and purify the air. Known now for antimicrobial properties. Harvested in the Mediterranean—a useful but not rare ingredient.

Benzoin (“baum benjamin / bengemen”)

Rich, sweet, balsamic resin with vanilla undertones. Used as a fragrance base and air freshener. Modern research confirms its mild antiseptic and adhesive properties. Sourced from Styrax trees in Southeast Asia—moderately expensive .

Calamus (“callamos”)

Sweet, spicy, earthy. Believed to ease respiratory and digestive issues. Today recognized for digestive soothing and mild anti-inflammatory action. Imported from India and Southeast Asia—moderately valued.

Camphor (“camphire”)

Sharp, cooling, menthol-like aroma. Thought to disinfect and ward off evil air. Indeed has antiseptic and anti-inflammatory properties. Sourced from camphor trees in Asia—fairly expensive but widely used.

Cinnamon

Warm, sweet, and spicy. Used for health and luxury. Modern research supports its antimicrobial and circulation-enhancing properties. Imported from Sri Lanka or Southeast Asia—highly prized and costly .

Civet (“sevitt / galia zibettina”)

Strong, animalic musk from civet cats. Used for deep, lingering scent. Although prized for its aroma, it later gave way to synthetic replacements. Ethically and economically complex.

Cloves

Warm, spicy, and pungent. Used for dental pain relief and as a disinfectant. Known today for anesthetic and antimicrobial effects. Sourced from the Moluccas—once extremely expensive.

Cubeb

Pungent, peppery, slightly mentholated. Used medicinally for respiratory illnesses. Confirmed to have antiseptic uses. Sourced from Java—rare, mid- to high-cost.

Cyperus (“siperus”)

Earthy, somewhat sweet, nutty. Believed to calm the senses. Today recognized in calming and digestive aromatherapy. Cultivated in Mediterranean and Asian regions—moderate value.

Frankincense

Clean, resinous, slightly citrusy. Believed to purify air and spirit. Known now for anti-inflammatory benefits. Sourced from the Arabian Peninsula—highly prized.

Geranium

Sweet, rosy, and green. Used for heart and mood upliftment. Modern aromatherapy confirms its balancing and antimicrobial qualities. Cultivated widely—moderately valued.

Gum Arabic

Neutral, sweet binder. No scent. Used to hold powders together. Widely sourced from African acacia trees—economical.

Gum Mastic (“mastich”)

Fresh, piney, slightly fruity. Believed to cleanse and protect. Today valued in flavoring, with minor antioxidant properties. Harvested in Greece—relatively expensive.

Labdanum

Rich, leathery, ambery resin. Thought to protect against infection. Now understood to function as a fragrance fixative and anti-inflammatory agent. Collected from Mediterranean Cistus shrubs—moderately costly .

Lavender (“stoechas / staechar arabica”)

Fresh floral-herb aroma. Believed to soothe and ward off evil. Supported by research on its calming and antiseptic qualities. Grown in northern Europe—commonly available.

Lignum Aloes

Dry, woody, aromatic. Believed to refresh and protect. Likely referred to agarwood or aloe wood. As valuable as other exotic resins .

Mace (“macis”)

Sweet-spicy, warm. Used like cinnamon, with digestive and warming properties. Exported from the Banda Islands—very costly historically.

Marjoram

Soft, herbal, sweet-spicy. Believed to calm and protect. Known for its calming and mild antiseptic effects. Cultivated in Mediterranean gardens—moderate value.

Musk (“muske”)

Animalic and sensual, musk was the ultimate fixative, derived from the scent glands of the Tibetan musk deer. It was believed to bring sexual allure. Modern ethical concerns have limited its animal sources, with synthetic versions now common.

Musk + Aloes + Ambergris Mix (“gallia moschata”)

A powerhouse blend of sensual animalics and resins for long-lasting aroma. Rare, costly, and potent.

Myrrh (“stacte”)

Bitter-sweet, resinous. Valued for spiritual, healing properties. Now known to possess antimicrobial and anti-inflammatory qualities. Harvested from the Horn of Africa—expensive.

Nigella (“nygela”)

Nutty, peppery. Believed to protect and heal—modern herbal use supports its benefits. Sourced from the Middle East—moderate cost.

Nutmeg (“muscata”)

Warm, sweet-spicy. Recognized for digestive and antimicrobial properties. Imported from Indonesia—very expensive .

Olibanum (another term for frankincense)

See above; same uses and value.

Oriental Sweet Gum (“liquidambar”)

Sweet, balsamic, vanilla-like. Used for fragrance and minor therapeutic purposes. Sourced from East Asia or Americas—moderate value.

Orris Root (“orrice”)

Powdery, soft violet aroma. Believed to freshen breath and perfume. Still valued in perfumery; roots were aged 3+ years. Sourced from Italy—expensive.

Rose Petals / Rose Oil / Rose Water

Classic floral—romantic and antiseptic. Known benefits include antimicrobial and mood-lifting effects. Sourced from Damask, Grasse, Bulgaria, and other rose-growing regions—rose oil was and is priceless.

Rosemary

Fresh, piney. Believed to sharpen memory and purify. Modern evidence supports its brain-boosting and antiseptic properties. Easily cultivated—moderately priced.

Scented Water

Typically rose, orange blossom, lavender or floral distillations—used as refreshing splashes. Light scent and cleansing; mild benefits.

Spikenard

Richly woody, spicy. Used in embalming and worship. Modern use shows calming and skin-soothing effects. Himalayan origin—rare and expensive.

Storax / Styrax (“storackes / storax callamyte”)

Balsamic resin with sweet, spicy scent. Antibacterial and skin healing properties. Sourced from the Mediterranean to Arabian Peninsula—moderately expensive .

Tragacanth (“gum draggon”)

Odorless binder. Smooth texture—stabilized pastes and powders. Sourced from Middle Eastern shrubs—low to moderate cost.

Turpentine

Piney, sharp. Used as solvent and for cleansing—modern use is primarily industrial; historical health claims were overstated. Sourced from the resin of pine trees—moderately priced.

White Turmeric (“zedoary”)

Warm, spicy, camphoraceous. Used in medieval medicine for digestion and circulation. Modern anti-inflammatory use recognized. Grown in India—moderately costly.

Together, these diverse ingredients represent a veritable pharmacopeia, merging aromatic luxury with early medicinal, spiritual, and protective beliefs. Traded globally, many were rare and costly, reflecting not only personal wealth but the historical values placed on scent, ritual, and wellness.

 

Falling Out of Favor:

A blurb from The Polynesian newspaper of Honolulu, Hawaii, of 1856 reads: "The Elizabethan ladies were curious in scents, and peculiarly fond of musk and civet, sweet powders and pomanders, which they wore in chains. The lover knew of his mistress's approach a stone's cast off by an odor as of the dawn of spring. "The bed," says Stubbes, the Puritan, sneeringly, "whereon they have laid their delicate bodies, the places where they have sat, the clothes and things which they have touched, shall smell a week, a month, and more after they be gone." 

The excerpt  highlights a vivid contrast between the Elizabethan love of scent and the disapproval voiced by moralists of the era—particularly Puritans like Philip Stubbes. During the reign of Elizabeth I, perfumes such as musk, civet, sweet powders, and pomanders were not just popular, they were considered essential to fashion, hygiene, and allure. Ladies often wore these fragrant items suspended from chains around the neck or waist, allowing their scent to trail behind them as they moved. The remark that a lover could sense his beloved’s approach “a stone’s cast off by an odor as of the dawn of spring” reflects the poetic association of fragrance with feminine presence, romance, and vitality.

In stark contrast, Philip Stubbes, a noted Puritan commentator and critic of the period, ridiculed this indulgence. He scoffed that a lady’s bed, clothing, and even the chairs she sat in would retain her scent for weeks after she had left—a sarcastic exaggeration that condemns the practice as excessive, perhaps even indecent. His reaction was rooted in the Puritan worldview. The Puritans were a 16th- and 17th-century religious reform movement within English Protestantism. They sought to “purify” the Church of England from perceived Catholic practices and emphasized piety, modesty, and strict moral discipline. They believed that all forms of ostentation—whether in dress, decoration, or personal grooming—were signs of vanity, worldliness, and sin.

To Puritans, perfume represented more than just pleasant aroma; it symbolized a deeper moral and spiritual failing. Scents like musk and civet—both animal-derived and notably sensual in character—were associated with physical pleasure and sexual allure. Puritans believed that focusing on physical beauty or indulging in luxury distracted the soul from its devotion to God. A perfumed woman might therefore be seen not just as frivolous, but as morally suspect.

This tension between sensory enjoyment and spiritual restraint underscores broader cultural conflicts of the time: between Renaissance humanism and religious austerity, between the flourishing of the arts and the moral rigorism of reformers. In this light, Stubbes’ sneer at scented ladies is not just prudish commentary—it’s a reflection of a profound ideological divide. Perfume, to the Elizabethans, might signify elegance, charm, and refinement, but to the Puritans, it was a sign of vanity, temptation, and misplaced priorities.

Pomanders began to fall out of fashion in the early to mid-18th century as tastes shifted and new personal scent accessories emerged. Their decline coincided with changing medical beliefs, improvements in urban sanitation, and the growing popularity of other, more discreet aromatic vessels. Objects such as vinaigrettes—tiny containers fitted with pierced inner lids to hold sponges soaked in aromatic vinegar—offered a more elegant and portable alternative to the bulky pomander. Similarly, snuff boxes, cassolettes (small ornamental boxes used to emit fragrance), and printaniers (spring-scented containers) became popular among both men and women, reflecting the Rococo era's focus on refinement, subtlety, and fashionable affectation. Smelling salts containers also gained popularity, especially in high society, where fainting spells were common and delicately scented restoratives were kept close at hand.

With the pomander no longer a necessity or fashion item, production eventually dwindled. By the late 18th and early 19th centuries, it was largely considered a relic of a more superstitious and ostentatious time. However, the artistic and technical mastery that went into crafting pomanders—especially those made of gold, silver, ivory, and enameled or jeweled designs—ensured their survival as cherished decorative objects. Today, antique pomanders are considered rare objets de vertu, a term used to describe small, exquisitely crafted luxury items. When these pieces come up for sale, especially those with provenance or ornate embellishments, they command significant prices at auctions and among collectors.

Most surviving examples are now housed in museum collections around the world, where they are admired not only for their beauty but for their cultural and historical significance. They offer a sensory glimpse into the past—both in form and in function—and serve as elegant reminders of how scent, health, status, and superstition were once intertwined.

Vinaigrette:

The original vinaigrette was a small silver container, usually rectangular or oval, fitted with a tight-fitting hinged lid and an ornate inner grille. Beneath this pierced cover, a sponge or pad was nestled, soaked in a sharp, aromatic vinegar blend. These scented vinegars—often referred to as "aromatic vinegars" or vinegars of the four thieves—were concoctions of acetic acid mixed with essential oils and botanical extracts. Common ingredients included rosemary, lavender, camphor, cloves, cinnamon, rue, and sometimes garlic or mint. The primary purpose of these vinegars was medicinal and preventative: to guard against offensive odors, refresh the senses, and in some cases, to stave off faintness or protect from perceived contagions carried in the air—echoing the older belief in miasma, or disease-bearing "bad air."

Because the vinegar’s acidity could corrode silver, the interior of these boxes was often gilded with gold to protect the metal. The inner grilles, visible when the lid was opened, are often marvels of craftsmanship—pierced in delicate motifs ranging from floral scrolls and baskets to stars, leaves, and more whimsical designs. Early grilles were simply punched, but silversmiths in Birmingham, England—especially during the late 18th and early 19th centuries—transformed them into intricate works of art, making the vinaigrette as much a jewel as it was a utilitarian object.

These containers were first introduced in the late 1700s and came in a dazzling array of shapes: miniature books, purses, eggs, coffins, shields, and scimitars, among others. Though we refer to them today as "vinaigrettes," during their original period of use they were more often called "sponge boxes." Carried by both men and women, they were practical yet fashionable personal items. Women used them to counteract faintness or megrims (an old term for migraines or lightheadedness), tucking them into gloves, hanging them from chains as pendants, or concealing them in reticules. Men often carried them in waistcoat pockets, similar to snuff boxes.

In the United States, the term vinaigrette later came to refer to scent bottles rather than boxes—particularly the peculiar cut or pressed glass flasks of the late 19th century. These were often made in whimsical shapes and used to hold perfumed liquids or smelling salts. Many were designed for suspension from chatelaines or worn on the finger like a ring or pendant. Scimitar-shaped vinaigrettes from this era are especially sought after by collectors today.

Altogether, vinaigrettes—whether boxes or bottles—were indispensable elements of Georgian and Victorian-era personal grooming and hygiene, as much about health and propriety as they were about beauty and scent.

Pouncet Boxes:

The pouncet box originated as a utilitarian item—a small container used to hold pumice stone, which was essential for smoothing parchment before writing. Pumice, being naturally abrasive, removed roughness and grease from animal skin, preparing the surface for ink. However, by the late Middle Ages and into the Renaissance, the pouncet box evolved into something far more refined and fragrant. It began to be crafted from scented wood and used to carry perfumed powders or sponges soaked in aromatic substances. These powders could be sniffed directly or used to perfume the air, clothing, or hair.

By the Elizabethan period, the term pouncet box broadly applied to any ornate box designed to hold dry or moist perfumes. It derived its name from the decorative technique used on the lid and sides—pouncet coming from the French poinçonner, meaning to prick or pierce. The lids were often intricately perforated or "pounced" with patterns, allowing the aromatic contents to waft out gently when opened or handled. These boxes became fashionable accessories, particularly among the upper classes, and were considered not only pleasurable but also protective. During a time when the theory of miasma—that bad air caused disease—was widely accepted, it was believed that these fragrances guarded against plague, poison, or general contagion.

William Shakespeare references the pouncet box in Henry IV, Part I, using it to characterize a fastidious, overly delicate courtier who irritates the hot-headed Hotspur. The scene reads:

"He was perfumed like a milliner;

And, 'twixt his finger and his thumb, he held

A pouncet-box, which ever and anon,

He gave his nose and took ’t away again;

Who, therewith angry, when it next came there,

Took it in snuff."

Here, the pouncet box becomes a symbol of frivolity and affectation—something to scoff at, especially by rougher, more militaristic characters. The phrase “took it in snuff” plays on the older meaning of snuff, which was a word signifying both a sharp inhalation and, idiomatically, a sign of displeasure or irritation.

An exceptional example of a pouncet box was once held in the Bernal Collection (No. 3482): an early English silver scent case formed in the shape of a skull—a memento mori, or "reminder of death." These objects were popular in the 16th and 17th centuries and served as moral prompts to reflect on the fleeting nature of life. The skull-shaped scent case could be opened by unscrewing the top and bore a poetic inscription:

"Tho' I spoke in vaine

This ends my paine.

If you alive when I am dead,

'Tis true what ere to you I said."

Such inscriptions were meant to evoke spiritual introspection, pairing the sensual pleasures of perfume with the sobering inevitability of death.

Pouncet boxes weren't just personal accessories. Larger versions, akin to table pomanders, were used to refresh the air in enclosed spaces. Smaller versions could be fitted to walking sticks and canes, especially those of physicians and clergy who used them when attending to the ill or dying. The aromatic vinegars inside, often composed of herbs like rosemary, lavender, and rue steeped in acetic acid, were intended to mask noxious smells and offer some psychological comfort during moments of physical distress.

Interestingly, ceremonial staves carried by nobles or royalty were sometimes topped with a pouncet box, making it a symbol of status and refinement as well as function.

Though perfumed powders and vinegars reigned supreme for a time, they were eventually eclipsed by the rise of snuff. This finely ground tobacco was inhaled sharply into the nose, a habit which grew popular in England particularly after the introduction and endorsement of tobacco by explorers such as Sir Walter Raleigh in the late 16th century. The word snuff derives from the old northern verb to sniff, and it originally referred to the act of inhaling deeply. Over time, snuff came to refer specifically to powdered tobacco used in this way.

Snuff was typically made from select, air-cured tobacco leaves—Nicotiana rustica or Nicotiana tabacum—finely milled and sometimes blended with aromatics such as bergamot, rose, or musk. It was originally sourced from the Americas, then cultivated and processed in Europe. As its use spread through the 17th and 18th centuries, the snuff box, often an exquisite, personalized object, became a must-have item. Much like the pouncet box, it served as both an olfactory accessory and a marker of social distinction.

Cassolettes & Printaniers:

The cassolette—also known as the printanier—emerged as a favored device for diffusing pleasant aromas toward the late sixteenth century. These small boxes, crafted from precious materials such as ivory, silver, or gold, were delicately pierced with holes to allow the fragrance inside to escape gently. Their design enabled the wearer to inhale the scent throughout the day, making them portable sources of personal fragrance. Cassolettes were not limited to one region but found popularity across Europe, notably in Britain, France, and other countries, reflecting the widespread appreciation for scented accessories during this period. Interestingly, the concept extended beyond boxes: finger rings were also fashioned with similar perforations and contained scented pastes, allowing for an intimate and discreet release of aroma.

"Cassolettés and Printaniers: Cassolettes and printaniers are little ivory boxes of various designs perforated in order to allow the escape of the odors contained therein. The paste used for filling these "ivory palaces whereby we are made glad is" composed of equal parts of grain musk, ambergris, seeds of the vanilla pod, otto of roses, and orris powder, with enough gum acacia or gum tragacanth to work the whole together into a paste. These things are now principally used for perfuming the pocket or reticule, much in the same way that ornamental and gold vinaigrettes are used."

According to The New Cyclopædia of Domestic Economy, and Practical Housekeeper (1872), cassolettes and printaniers were described as “little ivory boxes of various designs perforated in order to allow the escape of the odors contained therein.” The scented contents of these miniature “ivory palaces,” as the text poetically terms them, were a paste composed of several luxurious and fragrant ingredients. This paste combined equal parts of grain musk, ambergris, vanilla seeds, otto of roses (a highly concentrated rose essential oil), and orris powder—a fragrant root often used as a fixative—bound together with natural gums such as acacia or tragacanth to form a workable, fragrant paste.

By the nineteenth century, these fragrant cassolettes were principally used to perfume personal items such as pockets or reticules (small handbags). They served a similar role to the ornamental and often gold vinaigrettes of the time, both functioning as elegant, portable scent diffusers. The refinement and craftsmanship of cassolettes made them prized objects not just for their scent but as fashionable accessories reflecting status, taste, and the enduring human desire to carry pleasant fragrance close at hand.

The Hovedvandsæg:

 The hovedvandsæg was a distinctive type of small container popular in Scandinavian countries, traditionally given by a suitor to his betrothed as a romantic gift. The term hovedvandsæg literally means “head-water egg,” referring to its characteristic egg-shaped form designed to hold restorative “head-water” — a fragrant liquid intended to revive the senses. This “head-water” was typically a scented water used to alleviate headaches, malaise, or to freshen foul air. Because it often contained smelling salts or a sponge soaked in aromatic vinegar infused with spices like marjoram, lavender, sage, clove, cardamom, rose essence, or cinnamon, the hovedvandsæg is also commonly known as a “vinaigrette.” Beyond liquids, these small scent boxes sometimes held scented gum balls or compressed tablets of aromatic substances, serving much the same purpose as pomanders.

The tradition of giving a hovedvandsæg dates back to the post-medieval era and evolved as a direct successor to the pomander, which had been popular in Europe since the 14th and 15th centuries. Danish language itself contains five distinct words referring to pomanders—balsambøsse (balsam box), bisamæbel (balsam apple), desmerknop (musk knob), pomander (hand apple), and lugtekugle (smelling ball)—each describing a particular shape or style, which suggests the widespread availability and use of these aromatic containers. Pomanders traditionally contained a blend of aromatic substances such as cinnamon, nutmeg, mace, ginger, sandalwood, rose petals, storax, aloe woods, frankincense, myrrh, mastic, and balsam, often combined with precious animal secretions like ambergris, civet, castoreum, and musk. At the time, these were believed to have medicinal properties and were carried or worn as amulets to protect against plague and pestilence.

While pomanders were made from a variety of materials including precious metals, ivory, horn, amber, and wood, the hovedvandsæg was almost exclusively crafted in silver, occasionally in gold, brass, or tin. These boxes were typically made to order by silversmiths, with surviving examples dating from around 1725 through the late 19th century. Early hovedvandsæg often featured a heart shape topped with a crown—the heart symbolizing love, and the crown representing betrothal, affection, and friendship. This design echoes other European love tokens like the Scottish luckenbooth, which also depicts hearts and a crown. The hovedvandsæg came in various forms: some had a standing foot that opened, others had just a foot, while some lacked a foot altogether but included a loop for suspension from a necklace, chatelaine, or belt hook. Victorian versions sometimes resembled lockets, opening to hold a special memento.

These silver scent boxes were produced mainly from the late 17th century until about 1870 and were regarded as utilitarian decorative objects. Classified as objets de vertu, they were small precious objects crafted both for practical use and aesthetic admiration, much like snuff boxes, cigarette cases, scent bottles, and fans. Women often carried their hovedvandsæg wrapped in silk scarves during church services or social festivities. Interestingly, many boxes featured a small compartment at the bottom—initially designed to hold balm such as musk or amber but later repurposed to store a coin for the church collection. This combination of romantic symbolism, practical function, and fine craftsmanship made the hovedvandsæg a cherished and meaningful accessory in Scandinavian culture.

Loderein Boxes:

The term loderein is often mistakenly used online to refer to peppermint boxes; however, this is incorrect. Peppermint boxes are typically flatter and do not contain sponges, whereas loderein boxes—also known as lodereindoosje—were designed specifically to hold sponges soaked in scented liquids. These boxes were used for carrying and applying a type of perfume or aromatic water known as loderein.

Lode Rein (also spelled lodderein or odelarein) was a historic form of perfume similar to cologne. The name is derived from a corruption of the French phrase “L'eau de la reine”, meaning “royal water.” This fragrance is traditionally linked to Queen Elizabeth of Hungary, who reputedly used a formula dating back to the late 14th century. The young King Louis I of Poland also utilized this recipe, which contributed to its noble reputation. Loderein was considered an aphrodisiac, prized for both its pleasant scent and reputed stimulating qualities.

In perfumery, the word eau or “water” refers to a solution of volatile fragrance ingredients dissolved in ethereal oils, distilled water, or alcohol. These scented waters often featured floral notes such as lavender, rose, or jasmine and have been used since ancient times for multiple practical purposes. These included masking natural body odors, refreshing the skin, camouflaging unpleasant smells in rooms, freshening clothing, and even sprinkling on corpses to cover the scent of decay.

Lode Rein was a luxurious and costly liquid, typically affordable only to the wealthy elite. It was stored in special containers known as loderein cans or potjes, often made from silver. Additionally, there were loderein boxes—sometimes called incense boxes—which released a pleasant fragrance when opened. Women commonly carried these boxes, which contained a sponge or cotton ball soaked in the scented liquid. The sponge could be dabbed onto the skin for refreshment and fragrance throughout the day. The boxes themselves ranged in design from simple chased or engraved patterns to more elaborate styles featuring intricate twisted silver filigree.

In modern times, some perfume manufacturers have revived the designation “eau de la reine” in contemporary fragrances, such as L'eau de la reine Margot by Nicolas de Barry, drawing inspiration from the historic loderein tradition.

A traditional recipe for loderein included:

• Four parts flowers and leaves of the rosemary bush
• One part lavender flowers

These ingredients were dissolved in a solution containing about 40% alcohol and left to steep for a month. Afterward, the mixture was strained and stored in a dark place to preserve its fragrance.

Another variation of the recipe involved a distillate made from rosemary, cedar, and turpentine, producing a similarly aromatic and stimulating liquid.

Together, these details highlight loderein as a historically significant perfume product with royal associations, preserved in specialized containers designed for practical and decorative use.

Recipes for Pomanders:

The 1705 book Beauties Treasury, or the Ladies Vademecum offers several detailed recipes for pomanders and scented balsams, rich in original spellings that reflect the language of the period. These recipes reveal the complexity and artistry involved in creating fragrant preparations intended not only for pleasure but also for health and well-being.

One of the recipes, titled “An Odiferous Balsam to Comfort the Brain, and revive the Spirit,” calls for precise measurements of musk oil, clove oil, and lilies of the valley oil mixed with a small amount of virgin’s wax. This balsam was intended to be applied directly to the nostrils, providing a refreshing and invigorating sensation. The focus here is on stimulation and revival, highlighting the historical belief in aromatics as therapeutic aids.

“An Odiferous Balsam to Comfort the Brain, and revive the Spirit: Oil of musk one dram, oil of cloves six grains, Oil of Lilies of the Valley three grains, and a little Virgins-Wax; mix them all together, according to Art: Anoint the Nostrils with it, and you will find it very refreshing and pleasant."

Another recipe combines cloves, cinnamon, lavender, nutmeg, and several essential oils with wax, musk, and ambergris to create a similarly effective balsam. The inclusion of musk and ambergris, prized animal-derived scents, reflects their valued role in perfumery for adding depth and warmth. This balsam was thought to share the same “virtue” as the first, emphasizing its restorative and protective qualities.

"Cloves, Cinnamon, Lavender and Nutmegs of each two Drams, Oil of Cloves, Oil of Lavender, Angelica and Spike of each half a Scruple; Wax four Drams, Musk and Amber of each three Grains, all which being mixt, and made up into a Balsam, will be of the same use and Vertue as the former."

The text also describes a perfumed composition intended for carrying in a silver box, made by blending true jasmine butter (pomade) with various essences like orange flower, cinnamon, nutmeg, and rose, as well as the animalic essences of musk, ambergris, and civet. This paste was carefully worked in a cold marble mortar, underscoring the care taken in preparation to preserve the delicate fragrance. Such portable scented pastes were popular accessories, both practical and ornamental.

"A Perfumed Composition, to carry about in a Silver Box: True Jessamine-Butter half an Ounce, Essence of Orange Flower, Essence of Cinnamon, Oil of Orange Peel, Oil of Nutmegs, Essence of Roses of each half a Scruple; Flowers of Benjamin one Scruple, Essences of Musk, Amber and Civet of each half a Scruple. All these must be work’d well together in a cold and small Marble Mortar, and then use it."

In addition to pastes for personal use, the book details pomanders designed for bracelets, combining aromatic resins like storax, calamus, labdanum, and benzoin with spices, musk, ambergris, turpentine, and gum tragacanth dissolved in rosewater to create a pliable scented paste. These pomanders were not only fragrant but also believed to hold medicinal benefits, serving as a form of protection against disease and foul air.

"Perfumed Pastes, or or Pomanders for Bracelets: Storax Calamita and Labdanum of each a Dram and a half; Benjamin one Dram, Cloves, Mace, Wood f Aloes, Lavender-Flowers, of each half a Scruple; Musk and Ambergrease of each four Grains, a little Turpentine, Gum Tragacanth dissolv’d in Rosewater as much as will suffice; mix them well in a warm Mortar, and make them all into a Paste for Use."

One particularly elaborate recipe promises a pomander with “exceeding pleasant smell, and of great virtue against pestilential airs and the fits of the mother” — likely a reference to ailments such as hysterical or fainting episodes common in the period. Ingredients included Florentine iris roots, cloves, mace, cinnamon, sandalwood, storax, benzoin, ambergris, musk of Alexandria, balsam of Peru, rhodium oil, and civet. The careful blend of exotic spices, resins, and animal-derived scents reveals both the luxury and the perceived efficacy of such concoctions.

"Pomander of exceeding pleasant Smell, and of great Virtue against Pestilential Airs and the Fits of the Mother:: Florentine Iris Roots, Cloves, Mace, Cinnamon of each half an Ounce, Yellow Saunders, Storax Calamita, and Benjamin of each two Drams, Ambergrease one Dram, Musk of Alexandria half a Dram, Balsam of Peru, and Oil of Rhodium of each a Scruple: Mix all well together, and add two Drams of Civet. If you think it too chargeable, you may make half the Quantity."

The text also offers a recipe for "Trochises of Roses," a fragrant paste made by combining powdered cypress wood, Florentine iris, aromatic calamus, and wood of aloes with fresh damask roses and rosewater. The resulting mixture could be formed into small lozenges or pellets, dried in the shade, and optionally enhanced with musk and ambergris. These were versatile fragrant materials used in pomanders, musk-soaps, and sweet powders.

"Trochises of Roses: The Shavings of the Greenest Cypress-Wood one Ounce, Florentine Iris six Ounces, Calamus Aromaticus three Drams, Wood of Aloes six Drams; Pound them altogether. Then take three or four Hundred Red Damask-Roses clean pick’d, beat them in a Mortar with a Wooden Pestil, when they are half beaten, put in the Powder, then pound them again, moistning them with a little Damask Rosewater, and when they are very well mixt, make them up into little Trochisces, and dry them in the Shade.If you would heighten the Perfume, add Musk and Ambergrease, as much as you think fit, powdering the Musk, and dissolving the Ambergrease in Rosewater, and then mix it with the rest. This may be us’d in making Musk-Soaps, and Sweet-Powders as well as Pomanders."

From these rose-based trochises, another pomander recipe is derived, combining labdanum, storax calamita, benjamin, violet powder, amber, and musk to produce a richly scented and long-lasting pomander paste.

"Pomander made of this Trochise: The Trochise of Roses above mention’d half an Ounce, the best Labdanum two Ounces, Storax Calamita and Benjamin of each an Ounce, Violets powder’d one Ounce, Amber and Musk of each half a Dram, Powder which is to be powder’d, mix them all well together, and work them well into a Paste, of which you may make excellent Pomanders of a very durable Scent."

Finally, a curious perfume intended for pocket boxes or cane heads was created from jasmine butter (pomade), essences of orange flower, cinnamon oil, rose, ambergris, musk, and civet. This blend was carefully mixed in a cold mortar and stored in ivory or silver boxes designed with small holes to release the scent as needed. These containers could be incorporated into personal items like canes, fans, or rings, illustrating the integration of fragrance into daily life as a source of comfort, protection, and elegance.

"A curious Perfume, to put in Pocket-Boxes, or Heads of Canes, to Chear the Spirits, Ease Pains in the Head, and prevent Fainting Fits or Swounings, bad Smells, or infectious Airs: Purest Jessamine Butter half an Ounce, Essence of Orange Flowers two Drams, Chymical-Oil of Cinnamon two Drops, Essence of Roses one Scruple, Essence of Amber, Musk and Civet o each half a Scruple, work them together in a Marble or other Stone-Mortar, set in a cool Place, and do it quickly, that as little of the Scent may fly out as possible, and then put it up in Boxes of Ivory, Silver, etc, with Covers to unskrew or take off, and under those Covers little Holes, to let out the Scent as Occasion requires, and so these may be put into the Head of a Cane, a little Knob placed on a Busk, or at the End of a Fann, in a Hollow Ring, it being a very Rich and exceeding wholesome Perfume. "

 

 

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