Miracle by Lentheric (1924)

Launched in 1924, Miracle by Lentheric perfectly embodied the glamour, theatricality, and artistic sophistication that defined the early Jazz Age. Rather than simply introducing another fashionable perfume, Lentheric cleverly tied its newest fragrance to one of the most spectacular theatrical events of the season—the American premiere of The Miracle, the lavish wordless religious pantomime staged at New York's Century Theatre on January 15, 1924. To reinforce this association, the company secured a full-page advertisement on the back cover of the official program, ensuring that every theatergoer carried the fragrance's name home with them. The production itself was an extraordinary collaboration of artistic talent. It was written by Karl Vollmoeller, featured a magnificent orchestral score by Engelbert Humperdinck, and showcased breathtaking stage and costume designs by the celebrated American theatrical designer Norman Bel Geddes, whose dramatic ink and watercolor costume illustrations filled the souvenir program. Lending even greater prestige was the appearance of the celebrated British beauty and actress Lady Diana Manners, whose ethereal presence helped transform the production into one of New York's most talked-about cultural events.

Founded in London during the late nineteenth century, Lentheric had earned an international reputation for producing refined soaps, toiletries, cosmetics, and perfumes that combined French-inspired elegance with British craftsmanship. By the 1920s the company had become one of the world's most recognizable perfume houses, competing successfully with established French manufacturers while maintaining a distinctly English identity. Lentheric was particularly admired for its imaginative marketing, luxurious packaging, and memorable perfume names that evoked romance, fantasy, and sophistication. Throughout the twentieth century the company would become famous for beloved fragrances such as Tweed, Tramp, Shanghai, and Confetti, but Miracle represented one of its earliest examples of linking a perfume directly to a major theatrical production, blending the worlds of fragrance and stage spectacle into a single glamorous experience.

The word "miracle" ultimately derives from the Latin miraculum, meaning "a wonder," "something marvelous," or "an extraordinary event that inspires amazement." It entered English through Old French during the Middle Ages and has retained both its religious and poetic meanings ever since. By the early twentieth century the word had grown beyond its strictly religious origins to symbolize anything astonishingly beautiful, improbable, or magical. A miraculous event was something that seemed to transcend ordinary life, filling observers with awe and wonder.

As a perfume name, Miracle immediately conjured images of mystery, enchantment, and transformation. It suggested cathedral light streaming through stained glass, veils of incense drifting upward during solemn ceremonies, white lilies decorating ancient stone altars, moonlit gardens blooming against all expectation, and moments so beautiful they seemed almost impossible. The word carried an emotional richness that appealed equally to romance and spirituality. Unlike names emphasizing seduction or luxury, Miracle implied purity elevated by mystery—a fragrance capable of making an ordinary woman feel as though she had stepped into a dream or emerged from a fairy tale.

Women encountering the perfume in 1924 would have immediately recognized its association with the celebrated theatrical production. Max Reinhardt's spectacular staging of The Miracle had already achieved legendary status in Europe before arriving in America, and its lavish scenery, monumental sets, and hundreds of performers created an experience unlike conventional theater. Audiences were captivated not only by the story but by its overwhelming visual grandeur, elaborate costumes, and emotional power. Purchasing the perfume allowed admirers to carry home a tangible reminder of this unforgettable cultural event. In an age before television and digital media, major theatrical productions exerted enormous influence over fashion, interior decoration, cosmetics, and even perfume marketing.

The year 1924 stood at the height of what became known as the Jazz Age or the Roaring Twenties, an era characterized by prosperity, artistic experimentation, and dramatic social change following the hardships of the First World War. Women embraced newfound freedoms, both socially and stylistically. Hair was bobbed into sleek geometric cuts, hemlines gradually rose, and the restrictive corsets of the Edwardian period gave way to straighter, more youthful silhouettes. Beaded evening dresses shimmered beneath ballroom chandeliers while silk stockings, jeweled headbands, long opera gloves, and sparkling Art Deco jewelry completed the fashionable ensemble. Jazz orchestras filled hotel ballrooms, cocktail parties became increasingly fashionable despite Prohibition in the United States, and modern women projected confidence, elegance, and independence unlike any previous generation.

The artistic world surrounding Miracle reflected the emergence of Art Deco, whose influence could be seen in architecture, fashion, jewelry, theater, and perfume bottle design. Rich jewel tones, exotic motifs, stylized geometry, and luxurious materials captivated designers across Europe and America. Perfumers responded by creating fragrances that felt more sophisticated and cosmopolitan than the romantic floral bouquets of the Victorian era. Complex chypres, leather perfumes, oriental compositions, and highly structured floral bouquets became fashionable expressions of the modern woman.

Against this glamorous backdrop, the name Miracle resonated deeply with contemporary audiences. While the decade celebrated technology, aviation, automobiles, and scientific progress, there remained a fascination with fantasy, mysticism, and artistic spectacle. Women did not necessarily interpret Miracle as a religious perfume, but rather as one suggesting extraordinary beauty, unexpected romance, and almost supernatural elegance. The name promised transformation—a fragrance capable of making its wearer appear more radiant, more alluring, and somehow touched by something beyond the ordinary. Like the theatrical production that inspired it, the perfume invited its wearer to step away from everyday life and enter a world of imagination and wonder.

Without even smelling it, a woman reading the name Miracle would likely expect a fragrance possessing an almost luminous quality. It would not suggest a playful citrus cologne or an airy spring bouquet, but rather something graceful, mysterious, and beautifully composed. Knowing that it was described as a floral leather chypre, she might imagine elegant bouquets gathered within an ancient monastery garden, softened by aromatic herbs, lightly accented with carnations and lilies, before settling into the smooth richness of fine leather, oakmoss, precious woods, and warm earth. The name implied refinement rather than extravagance, mystery rather than overt sensuality, and timeless elegance instead of fleeting fashion.

From a perfumery standpoint, Miracle perfectly reflected one of the dominant trends of the mid-1920s while still offering its own distinctive personality. The enormous influence of Chypre (1917) had transformed the fragrance world, inspiring countless interpretations built around mossy woods, citrus, florals, and warm bases. Leather notes had likewise become highly fashionable, evoking luxury handbags, finely crafted gloves, and sophisticated Parisian salons. Rather than challenging these prevailing tastes, Miracle embraced them, combining the elegance of a classic floral bouquet with the fashionable structure of a leather chypre. Yet its theatrical inspiration distinguished it from many contemporaries. Instead of drawing upon exotic lands or historical queens, Lentheric anchored the perfume in one of the most celebrated artistic productions of the era, transforming a successful stage spectacle into a fragrant expression of mystery, beauty, and miraculous transformation.

1925 ad

Fragrance Composition:

So what does it smell like? Miracle is classified as a floral leather chypre fragrance for women. Consists of a mixed bouquet of flowers and herbs, just slightly spiced with carnation and lilies, on a leathery chypre base.

• Top notes: aldehydes, bergamot, lemon, sweet orange, petitgrain, neroli, lilac, coriander, jasmine, rose geranium, hyssop, verbena, clary sage
• Middle notes: rose de mai, Bulgarian rose, jasmine, ylang ylang, orange blossom, lily of the valley, carnation, lily, camphor, iris, violet, lavender, rosemary, thyme, tarragon, sage, oregano, basil.
• Base notes: carrot seed, clove bud, allspice, pine, sandalwood, Moroccan cedar, patchouli, castoreum, musk, labdanum, civet, vanilla, leather, oakmoss, styrax

 

Scent Profile:

Miracle opens with the poised elegance expected of a great perfume from the height of the 1920s, its first impression sparkling with brilliant citrus light before gradually revealing the complexity hidden beneath. A whisper of aldehydes immediately creates an almost magical luminosity. These remarkable synthetic aroma chemicals, developed during the early twentieth century, do not imitate any flower found in nature. Instead, they smell of chilled champagne bubbles, crisp linen, polished silver, cool morning air, and glistening light. Materials such as Aldehyde C-10 lend a bright citrus sparkle, while C-11 and C-12 contribute soft waxy, metallic, and almost velvety nuances that make every natural ingredient surrounding them seem brighter and more radiant. Rather than replacing nature, they serve as invisible beams of light illuminating the entire composition, giving the perfume its unmistakable elegance.

That luminous opening is enriched by the world's finest citrus harvests. Calabrian bergamot, cultivated along Italy's Ionian coast, has long been considered the benchmark of perfumery. The region's mineral-rich soil, abundant sunshine, and gentle sea breezes produce fruit that is noticeably sweeter and more floral than bergamot grown elsewhere, offering sparkling citrus accompanied by delicate hints of lavender and Earl Grey tea. Beside it shines Sicilian lemon, bursting with juicy brightness, sharp zest, and cool freshness, while sweet orange, also likely from Sicily, softens the composition with golden nectar-like sweetness and the comforting aroma of freshly peeled fruit. Petitgrain, distilled not from fruit but from the leaves and twigs of the bitter orange tree, introduces a distinctly different character—green, woody, slightly bitter, and aromatic—creating the perfect bridge between sparkling citrus and the floral heart. Completing this radiant accord is neroli, traditionally distilled from orange blossoms grown in Tunisia or southern France. Neroli possesses an ethereal freshness unlike any other citrus material, smelling simultaneously floral, honeyed, citrusy, and softly green, filling the opening with luminous elegance.

Almost immediately, delicate flowers begin to emerge from beneath the citrus brilliance. Lilac is among perfumery's greatest illusions, for its exquisite blossoms produce virtually no extract suitable for fragrance. Instead, perfumers painstakingly recreate lilac through a sophisticated blend of synthetic molecules including hydroxycitronellal, anisic materials, and delicate floral aldehydes. The result perfectly captures the scent of blooming lilac hedges after spring rain—airy, honeyed, green, and gently powdery. Jasmine appears twice within the composition, first as a fleeting sparkle in the opening and later as a richer heart note. Whether harvested from Grasse in southern France or Egypt's Nile Valley, jasmine grandiflorum contributes intoxicating sweetness with hints of ripe apricot, warm tea, sun-warmed petals, and soft skin. Rose geranium, cultivated extensively in Réunion, Madagascar, or Egypt, contributes a fresh rosy brightness infused with cool minty greenery, lending remarkable vitality to the opening bouquet.

The aromatic herbs provide the fragrance with its unusual sophistication. Coriander seed contributes sparkling citrus wrapped in warm spice, while hyssop, long associated with ancient medicinal and sacred gardens, offers crisp herbal freshness with hints of mint and lavender. Lemon verbena, particularly prized when grown in southern France, smells intensely of crushed lemon leaves rather than fruit, combining bright citrus with vibrant green foliage. Clary sage, cultivated in France and central Europe, introduces a warm herbal sweetness recalling amber, dried hay, tobacco leaves, and flowering herbs, quietly foreshadowing the rich chypre base that lies ahead.

As the fragrance unfolds, its magnificent floral heart blossoms into full splendor. Two of the world's finest roses stand side by side. Rose de Mai, grown for only a few precious weeks each spring around Grasse, France, is treasured for its soft honeyed richness, delicate fruitiness, and velvety petals. Because the flowers must be picked at dawn before the sun evaporates their precious oils, Rose de Mai remains among the rarest and most expensive perfume materials in existence. Beside it blooms the celebrated Bulgarian Rose Otto, distilled in the Valley of Roses where cool mountain nights and warm sunny days produce blossoms of extraordinary depth and complexity. Bulgarian roses possess a fuller, richer, and more velvety character than many other rose varieties, combining honey, spice, citrus, and soft powder into one magnificent aroma. Together these two roses create an exquisite harmony—the French rose graceful and refined, the Bulgarian rose opulent and regal.

Supporting the roses is an opulent bouquet of white flowers. Ylang-ylang, grown on the volcanic islands of the Comoros, offers creamy tropical sweetness with hints of banana custard, cloves, jasmine, and warm skin. The island's rich volcanic soils and humid climate produce flowers of exceptional richness unmatched by many other growing regions. Orange blossom absolute, harvested in Tunisia or Morocco, contributes luminous nectar-like sweetness balanced by delicate green freshness. It carries the fragrance of flowering citrus groves warmed by Mediterranean sunshine. Jasmine returns with greater depth, weaving through every blossom and lending the bouquet remarkable sensuality.

Among the bouquet are flowers that nature refuses to surrender to perfumery, making chemistry essential to their recreation. Lily of the valley produces no essential oil whatsoever. Instead, perfumers recreate its cool white bells using molecules such as hydroxycitronellal, one of the defining aroma chemicals of twentieth-century perfumery. Hydroxycitronellal smells unmistakably of fresh muguet blossoms—dewy, green, cool, and softly lemony—and adds remarkable elegance while allowing surrounding natural flowers to appear even fresher. True lily presents a similar challenge, as its fragrance cannot be commercially extracted. Perfumers therefore compose convincing lily accords from floral molecules, jasmine materials, green notes, and subtle spice. Rather than limitations, these synthetic recreations become artistic triumphs, allowing perfumers to portray flowers more vividly than nature itself could provide.

The floral heart grows increasingly complex with the addition of iris and violet. True iris perfume comes not from the blossoms but from the underground rhizomes of Iris pallida grown primarily in Tuscany. These roots must age for three to five years before distillation, allowing fragrant irones to develop. The resulting orris butter smells of cool violet petals, luxurious face powder, soft suede gloves, and elegant cosmetics. Violet flowers themselves yield almost no extract, so their fragrance is recreated through ionones, remarkable synthetic molecules that possess a powdery floral aroma blending violet petals, soft woods, and delicate sweetness. These same ionones beautifully reinforce the iris while lending the entire bouquet a velvety cosmetic elegance so beloved during the Jazz Age.

The herbal heart continues to unfold like an ancient monastery garden filled with aromatic plants. Lavender from Provence contributes soft floral freshness beneath the richer blossoms. Rosemary adds invigorating pine-like herbs kissed by Mediterranean sunshine, while thyme contributes earthy green warmth. Tarragon introduces a delicate anise nuance that dances through the herbs, while sage, oregano, and basil create layers of aromatic greenery that remain refined rather than culinary. The inclusion of camphor provides an unexpected coolness—a crystalline medicinal freshness that momentarily lifts the entire bouquet before melting seamlessly into the deeper notes below.

As the perfume settles upon the skin, the floral bouquet gradually gives way to a sumptuous leather chypre foundation. Carrot seed introduces an unusual earthy sweetness with hints of dry roots, warm hay, and polished wood. Clove buds, harvested primarily from Madagascar or Zanzibar, contribute rich spicy warmth through their naturally high concentration of eugenol, while allspice offers an intriguing blend of cinnamon, cloves, nutmeg, and pepper in a single spice, quietly enriching the carnation and floral accord without overwhelming it.

The woods emerge with quiet confidence. Scots pine evokes fresh evergreen forests, resinous needles, and crisp mountain air. Creamy Mysore sandalwood from India—considered the world's finest because of its exceptionally high concentration of fragrant santalols—adds incomparable richness, smelling of warm milk, polished wood, soft butter, and gentle incense. Moroccan Atlas cedar, growing high within the Atlas Mountains, possesses a distinctly sweeter and more resinous aroma than Virginian cedar. It suggests ancient cedar chests, dry mountain forests, polished wood, and warm resin warmed by the North African sun. Patchouli, traditionally cultivated in Indonesia, anchors the composition with deep earth, cocoa, damp leaves, aged wood, and subtle sweetness.

The leather accord itself is masterfully composed rather than relying upon a single ingredient. Castoreum, historically obtained from the North American beaver, contributes the aroma of warm suede, well-worn leather gloves, polished saddles, and aged tobacco. During the twentieth century it was increasingly supplemented or recreated by synthetic materials that offered greater consistency while preserving its luxurious effect. Leather accords, often constructed from birch tar, styrax, labdanum, and synthetic materials such as isobutyl quinoline, smell of expensive riding boots, supple handbags, polished leather-bound books, and elegant glove shops lining fashionable Parisian boulevards.

The animalic heart is softened by exquisite fixatives. Natural musk, once obtained from the musk deer but increasingly replaced by synthetic musks even during the early twentieth century, contributes a warm skin-like softness rather than an obvious animal scent. Synthetic musks extended the perfume's longevity while adding velvety warmth that blended effortlessly with natural materials. Civet, traditionally obtained from the African civet cat but also increasingly recreated synthetically, smells surprisingly unpleasant in concentrated form yet becomes astonishingly beautiful when greatly diluted. It lends flowers an almost living warmth, creating the illusion that the bouquet is breathing softly against warm skin rather than resting inside a bottle.

The final hours glow with the warmth of ancient resins. Labdanum, gathered from Mediterranean rockrose shrubs growing in Spain and southern France, contributes rich amber, leather, dried herbs, and sun-baked resin. Vanilla, cultivated primarily in Madagascar where the island's climate produces beans of exceptional sweetness and complexity, wraps the darker materials in creamy warmth without becoming confectionery. Styrax, harvested in Asia Minor, lends smoky balsamic richness touched with leather and cinnamon. Finally, the unmistakable aroma of oakmoss, gathered from oak trees throughout the forests of France and the Balkans, settles over everything like soft green velvet. Cool moss, damp bark, ancient forests, and gentle earth give the fragrance its unmistakable chypre identity, grounding the radiant florals in timeless elegance.

Miracle ultimately reveals itself as far more than a simple floral perfume. It is an intricate tapestry in which luminous synthetics and precious natural materials work together in perfect harmony. The aldehydes illuminate the citrus; hydroxycitronellal breathes life into impossible lilies; ionones transform iris and violet into powdered elegance; carefully constructed leather accords enrich natural woods and resins. Rather than competing with nature, these remarkable synthetic discoveries elevate it, allowing every flower to bloom more brilliantly, every herb to smell fresher, and every leathery shadow to possess greater refinement. The result is a sophisticated floral leather chypre that captures the artistic spirit of the Jazz Age—elegant, theatrical, mysterious, and quietly miraculous from its sparkling opening to its lingering moss-covered finish.

Product Line:

Like many prestigious perfumes of the 1920s, Miracle by Lentheric was offered as a complete luxury toilet line, allowing women to enjoy the fragrance throughout every stage of their daily beauty ritual. Rather than relying on perfume alone, the collection was designed so each product subtly reinforced the scent, creating a lasting, harmonious fragrance from morning until evening. Whether preparing for the day or dressing for an elegant evening affair, a woman could surround herself with the refined floral leather chypre bouquet of Miracle.

The fragrance was available in several strengths to suit different occasions. The richest was the Parfum (Extrait de Parfum), the most concentrated and luxurious expression of the fragrance, applied sparingly to pulse points for exceptional depth and longevity. For a lighter but still richly scented alternative, Lentheric offered Bouquet Miracle, described as a double-strength eau de cologne. More concentrated than a traditional cologne, it provided a fuller, longer-lasting fragrance while retaining the refreshing character expected of an eau de cologne. A classic Eau de Cologne completed the fragrance offerings, ideal for generous application after bathing or for refreshing the skin throughout the day.

The accompanying toiletries transformed everyday grooming into an indulgent ritual. Fine Dusting Powder and silky Talc left the skin soft, smooth, and delicately perfumed, while fragrant Powder Sachets scented lingerie drawers, handkerchiefs, gloves, and bed linens with Miracle's elegant bouquet. Lentheric also introduced Crème Bouquet, a luxurious cream sachet that combined the richness of a perfumed cream with the lingering fragrance traditionally associated with sachet powders, providing a softer, more intimate way to perfume the skin.

The range extended into bath and hair preparations as well. Perfumed Soap cleansed while leaving behind a subtle veil of fragrance, and aromatic Bath Salts transformed an ordinary bath into a luxurious spa-like experience. Brilliantine, one of the era's essential grooming products, added shine and control to the fashionable sleek hairstyles of the 1920s while delicately scenting the hair. Completing the collection were Face Powders and elegant powder compacts, allowing fashionable women to coordinate both their cosmetics and fragrance. Beautifully packaged and intended to complement one another, the Miracle line reflected the sophisticated beauty philosophy of the Jazz Age, when a woman's perfume was considered an integral part of her entire toilette rather than merely the final finishing touch.

Bottles:

Black Crystal Floating Gold Parfum Flacon:

One of Lentheric's most striking presentations for Miracle was its luxurious Black Crystal Floating Gold Parfum Flacon, an elegant arched bottle designed by Georges Dumoulin. The deluxe edition was crafted by the renowned Baccarat crystal works, while the smaller sizes were produced by Depinoix, each acid-stamped "Made in France" on the base. Fashioned from deep black crystal, the glass was infused with genuine particles of gold, creating the mesmerizing effect known as "floating gold," where shimmering flecks appear suspended within the crystal like stars caught in a midnight sky. A sleek black Bakelite stopper cover completed the thoroughly modern Art Deco design. 

The bottle was produced in three sizes—5⅞ inches, 4½ inches, and 3⅛ inches tall. A 1929 Hearst's magazine described the flacon with poetic admiration: "Inevitably they return with a zealously guarded bottle of this most exquisite perfume of Guillaume Lentheric—a bottle in onyx and sprayed gold, full of tiny drops—within each drop, forever trapped, the quick sweet scents of fragile living flowers." The evocative description perfectly captured both the bottle's jewel-like beauty and the luxurious artistry that made it one of Lentheric's most memorable perfume presentations.

Baccarat/Val St Lambert - Blue Edged Parfum Flacon:

An earlier presentation for Miracle was the elegant Blue Edged Parfum Flacon, dating to the 1920s. This 3½-inch square bottle was crafted in cased blue and clear crystal with a matching stopper, metal overcap, and original label. Examples are found stenciled "Val St. Lambert," although the design was also produced by Baccarat as Model No. 298, introduced in 1916. The same bottle was later issued in green cased crystal for Lentheric's Ambre Mousse perfume, originally launched in 1912. Its clean geometric lines and jewel-like crystal construction made it an elegant early example of the emerging Art Deco aesthetic in perfume bottle design.

Frosted Grecian Capital Parfum Flacon:

Beginning in 1936, Lentheric introduced a striking new presentation for Miracle, replacing the costly black "floating gold" Baccarat and Depinoix flacons with an elegant frosted and clear glass bottle manufactured by Verreries Brosse. Designed by Frank McIntosh, whose design received a U.S. patent on May 27, 1936, the bottle was inspired by the capital of a classical Grecian column, featuring graceful volutes (scrolls) on either side that echoed the Ionic style of ancient Greek architecture. Combining frosted and polished crystal-clear glass, the flacon possessed a refined sculptural quality that perfectly reflected the streamlined elegance of the Art Deco era while remaining far less expensive to produce than its crystal predecessor. 

Advertisements praised it as "a flacon of arresting beauty—a replica in crystal of the capital of a Grecian column, with classic lines and graceful scrolls." The design was produced in a wide range of sizes, from a charming 1/8-ounce miniature measuring just 1-5/16 inches high by 1-9/16 inches wide, to ½-ounce, 1-ounce, 2-ounce, 4-ounce (3¼ × 4¼ inches), and an impressive 8-ounce size measuring 4 inches high by 5¼ inches wide, making the distinctive Grecian-inspired bottle available for everything from travel perfumes to luxurious dressing-table display pieces.

Czech Controlled Bubble Parfum Flacons:


In 1935, Lentheric introduced Miracle in an eye-catching controlled bubble glass parfum flacon manufactured in Czechoslovakia, a country renowned during the interwar years for its innovative art glass and exceptional craftsmanship. Standing 4 inches tall, the bottle was intentionally filled with hundreds of tiny, evenly distributed air bubbles suspended within the glass, creating the illusion that the entire vessel was a single shimmering bubble. Each Lentheric fragrance was distinguished by its own glass color, with cerulean blue reserved for Miracle, while Lotus D'Or appeared in soft rose, Le Pirate, Au Fil de L'Eau, and Forêt Vierge in green, Asphodèle in crystal clear, Tweed in champagne, and Numero Douze in amber. 

Drug and Cosmetic Industry described the innovative presentation in 1935: "Lentheric's Bubble Bottle comes in blue, clear, rose, amber or green. The glass is full of tiny bubbles and the whole bottle looks like one large bubble itself." The distinctive design perfectly reflected the Art Deco fascination with modern decorative glass, transforming an everyday perfume bottle into a colorful work of art while allowing each fragrance in the Lentheric collection to be instantly recognized by its signature hue.

Orrefors Crystal Parfum Flacons:

 In 1936, Lentheric introduced an elegant trio of crystal parfum flacons manufactured by the renowned Swedish glassmaker Orrefors, created exclusively for Miracle, Tweed, and Gardenia de Tahiti. Each beautifully crafted crystal bottle featured a distinctive etched design on its front to identify the fragrance and was crowned with a tall, frosted glass spire-shaped stopper that emphasized the sleek, modern lines popular during the Art Deco era. The bottles were presented in luxurious vaulted-top boxes covered in shimmering silver and blue paper, enhancing their appeal as sophisticated gift items. Curiously, most examples were not permanently marked with the Orrefors name; instead, they originally carried paper hang tags identifying their prestigious maker. Since these tags were typically discarded over time, many surviving bottles are now mistakenly regarded as anonymous crystal pieces, and collectors often remain unaware that they were specially produced by Orrefors for Lentheric's distinguished perfume line.

Other bottles:

Fate of the Fragrance:

Following its luxurious Art Deco presentations of the 1920s and 1930s, Miracle gradually transitioned into simpler, more economical packaging as fashions and manufacturing practices changed. During the 1940s, 1950s, and into the late 1960s, the fragrance was sold in a variety of plainer commercial bottles that emphasized practicality over elaborate crystal artistry, reflecting the changing tastes of the postwar consumer and the industry's move toward cost-effective packaging. Although these later bottles lacked the sculptural elegance of the Baccarat, Orrefors, or Verreries Brosse designs, they allowed the beloved fragrance to remain available to loyal customers for decades. Sometime after the end of the 1960s, Miracle was quietly discontinued, although the exact date has not been documented. Today, the perfume is remembered not only for its sophisticated floral leather chypre composition but also for the remarkable succession of artistic bottles that accompanied it throughout its history.

From a 1929 Lentheric catalog, Miracle was available in the following, with original prices:

Extract (boxed):

• No. 2360 - 1/2 oz - $4.00
• No. 1360 - 1 oz - $7.00
• No. 360 - 2 oz - $12.50
• No. 361 - 4 oz - $25.00
• No. 362 - 8 oz $45.00

Toilet Water:

• No. 370 - 4 oz - $6.00
• No. 371 - 8 oz - $10.00
• No. 372 - 16 oz - $18.00

Double Compact (with extra refill):

• No. 100 - $2.50
• Rouge: Pour Blonde, Medium, Pour Brune
• Powder: Naturelle, Rachel, Blanche

Single Compact (with extra refill):

• No. 101 - $1.00
• Naturelle, Rachel, Blanche

Powder Refill (with puff for No. 101 and 100):

• No. 103 - $0.50
• Naturelle, Rachel, Blanche

Face Powder (with puff):

• No. 105 - $1.00
• Naturelle No. 1
• Naturelle No. 2
• Naturelle No. 3
• Rachel No. 1
• Rachel No. 2
• Summer Tan
• Ocre
• Ocre Rose
• Blanche

Talcum Powder

• No. 110 - 4 1/2 oz - $1.00
• Summer Tan
• White

Dusting Powder (with puff)

• No. 115 - $2.00

Bath Salts

• No. 120 - small - $1.50
• No. 121 - large - $2.50

Soaps (3 cakes to a box):

• No. 130 - per cake - $1.00

Brilliantine:

• No. 135 - Liquid - $1.50
• No. 136 - Crystallized - $2.50

Sachet:

• No. 140 - 1 oz - $2.00