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  Ruins of Karnstein Perfume Oil

  “It was a bad family, and here its bloodstained annals were written,” he continued. “It is hard that they should, after death, continue to plague the human race with their atrocious lusts.”

  Palatial grandeur in ruins, its decrepit majesty poised in the liminal space between decay and beauty. A haunting memory of all-consuming desire: the rich, earthy depth of oud, vetiver, and moss, grounded in the untamed wilds of the forest, echoing the ancient stones that remain.
  

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  Resembling the Passion of Love Perfume Oil

  The vampire is prone to be fascinated with an engrossing vehemence, resembling the passion of love, by particular persons. In pursuit of these it will exercise inexhaustible patience and stratagem, for access to a particular object may be obstructed in a hundred ways. It will never desist until it has satiated its passion, and drained the very life of its coveted victim. But it will, in these cases, husband and protract its murderous enjoyment with the refinement of an epicure, and heighten it by the gradual approaches of an artful courtship. In these cases it seems to yearn for something like sympathy and consent. In ordinary ones it goes direct to its object, overpowers with violence, and strangles and exhausts often at a single feast.
  
  All-consuming, relentless desire – deceptively luscious, murderously brooding, and blindingly sensual: blood musk, black cherry, crimson amber, 21-year aged patchouli, golden saffron, jasmine sambac, and black rose.

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  The Great and Titled Dead Perfume Oil

  In this solitude, having just listened to so strange a story, connected, as it was, with the great and titled dead, whose monuments were moldering among the dust and ivy round us, and every incident of which bore so awfully upon my own mysterious case—in this haunted spot, darkened by the towering foliage that rose on every side, dense and high above its noiseless walls—a horror began to steal over me, and my heart sank as I thought that my friends were, after all, not about to enter and disturb this triste and ominous scene.

  The haunted stillness of a long-decayed cemetery plot choked by ivy and wild blackberry thorns.

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  Mircalla, Countess Karnstein Perfume Oil

  I remembered it; it was a small picture, about a foot and a half high, and nearly square, without a frame; but it was so blackened by age that I could not make it out.

  The artist now produced it, with evident pride. It was quite beautiful; it was startling; it seemed to live. It was the effigy of Carmilla!

  “Carmilla, dear, here is an absolute miracle. Here you are, living, smiling, ready to speak, in this picture. Isn’t it beautiful, Papa? And see, even the little mole on her throat.”

  My father laughed, and said “Certainly it is a wonderful likeness,” but he looked away, and to my surprise seemed but little struck by it, and went on talking to the picture cleaner, who was also something of an artist, and discoursed with intelligence about the portraits or other works, which his art had just brought into light and color, while I was more and more lost in wonder the more I looked at the picture.

  “Will you let me hang this picture in my room, papa?” I asked.

  “Certainly, dear,” said he, smiling, “I’m very glad you think it so like. It must be prettier even than I thought it, if it is.”

  The young lady did not acknowledge this pretty speech, did not seem to hear it. She was leaning back in her seat, her fine eyes under their long lashes gazing on me in contemplation, and she smiled in a kind of rapture.

  “And now you can read quite plainly the name that is written in the corner. It is not Marcia; it looks as if it was done in gold. The name is Mircalla, Countess Karnstein, and this is a little coronet over and underneath A.D. 1698. I am descended from the Karnsteins; that is, mamma was.”

  
  Black velvet, blackcurrant, and black roses.

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