Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1907-11-09
Science of Bouquet Making.

That there are scientific laws that
regulate the combination of odOrS. as
there are those that must be followed
in assembling cOlOrS or musical tones.
is maintained by Francis Marie in an
article contributed to the Paris Cos
mos Mr.. Marie holds that it is pos
sible to formulate rules for the proper
grouping of flowers according to their
odors. and he believes that those who
consult the eye only in making bou-
uuet are artistic heretics. "a bouquet
is a symphony of odors." he says and
it has its conventional rules Of COM
position just as musical symphony
has.
What these rules are he strives to
point out. We read: "To choose flow
ers with skill. to group them har-
moniously. to blend their colors and to
| bring out a pleasing effect from the
infinite variety of their shades is an af-
fair of art and personal taste for which
it is impossible to fortunate precise
rule or any exact directions. But to
establish a scale of scent that shall not
contain one false note-to make the
general odor of a bouquet something
fine, smooth and delicate is not an art
but real science, and 1 desire to try
to express its laws.
1.-The precise OSmOmetric measure
n1ents that have been made in various
laboratories have established the rela-
tive intensity of perfumes and the ex-
periments of specialists have done the
rest, so that it is today we'll known in
what relative proportions the ele-
mentary odors must be combined in or
der to obtain an agreeable whole. By
such knowledge the great perfumers
prove their creative skill. and their
clevcrness is often only the application
of precise and definite data.
1--WE may divide OdOrS into two great
classes. the strong AMI the weak; each
when used by itself has very apparent
defects: the problem for solution Is to
unite them in proper proportions.
I'm the first place foundation odor
must he selected. to give the general
tone. This choice is free. and there is
nothing to determine it outside of the
personal preferences of the maker of
the bouquet or. better, the one for
whom it is destined. Some prefer
violent and strong base. such as acacia.
heliotrope or lilac others like a weaker
the valley. jasmine or white rose. 1t is
simply Il question of taste.
"'Thc foundation odor must be plac ed
in the centre. and only a small num-
Der Of flowers must be used for it: then
these should be surrounded with an
odor that will complete it without eff
facing ii. Around d bunch of acacia.
for instance. may be placed few bios
SONS of honeysuckle; around hello
trope. lily of the valley around tube
rose. jacinth; around geranium, roses.
Then. the complementary odor having
once been fixed upon there must be
added different odOrs, intended to give
to the basic odOr what we may call
character-livclyO dorS on the one hand
and soft doors on the other: in a bou-
Duet OF heliotrope and lily Of the val
ley 1t is good to place the violence OF
the Jacinth. the warm sweetness of the
orange. the penetrating dclicacy of the
! mignonette or the violet, and some
thing Of the strength exhaled by the
gilly'l"wer or the carnatiOn. Finally
We finish by placing at the edges d re-
rninder of the basic order
AT hrSt sight these rules appear
something artificial and conventional;
this is true in a certain degree. but
conformity with them is none the less
useful. bouquet is a symphony Of
odors. and should we not grant that in
| making it we must follow rules as rigid
as those Of harmony? 1t is hcresy to
hold that flowers should be grouped
| with a view solely to the pleasure Of
the eye. since they have perfume: and
if the theory Of complementares gov
ems the assemblage of colors We should
| not forget that there are also COM
Elementary odors. and that odors have
value and intensity which should be
| combined happily when we desire to
achieve a really artistic result