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  The Harlot’s House Perfume Oil

  We caught the tread of dancing feet,
  We loitered down the moonlit street,
  And stopped beneath the harlot’s house.

  Inside, above the din and fray,
  We heard the loud musicians play
  The “Treues Liebes Herz” of Strauss.

  Like strange mechanical grotesques,
  Making fantastic arabesques,
  The shadows raced across the blind.

  We watched the ghostly dancers spin
  To sound of horn and violin,
  Like black leaves wheeling in the wind.

  Like wire-pulled automatons,
  Slim silhouetted skeletons
  Went sidling through the slow quadrille.

  The took each other by the hand,
  And danced a stately saraband;
  Their laughter echoed thin and shrill.

  Sometimes a clockwork puppet pressed
  A phantom lover to her breast,
  Sometimes they seemed to try to sing.

  Sometimes a horrible marionette
  Came out, and smoked its cigarette
  Upon the steps like a live thing.

  Then, turning to my love, I said,
  “The dead are dancing with the dead,
  The dust is whirling with the dust.”

  But she–she heard the violin,
  And left my side, and entered in:
  Love passed into the house of lust.

  Then suddenly the tune went false,
  The dancers wearied of the waltz,
  The shadows ceased to wheel and whirl.

  And down the long and silent street,
  The dawn, with silver-sandalled feet,
  Crept like a frightened girl.

  The dead are dancing with the dead, the dust is whirling with the dust: angel’s trumpet, violet, white sandalwood, oude, copaiba balsam, angelica, white tea, olibanum, and oakmoss.

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  Dawn: Mourning Victory Perfume Oil

  Red sandalwood, night-blooming jasmine, white tea, hyacinth, rosehips, and tuberose.

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  Eusapia 2024 Perfume Oil

  The case I allude to is that of an invalid woman who belongs to the humblest class of society. She is nearly thirty years old and very ignorant; her look is neither fascinating nor endowed with the power which modern criminologists call irresistible; but when she wishes, be it by day or by night, she can divert a curious group for an hour or so with the most surprising phenomena. Either bound to a seat or firmly held by the hands of the curious, she attracts to her the articles of furniture which surround her, lifts them up, holds them suspended in the air like Mahomet’s coffin, and makes them come down again with undulatory movements, as if they were obeying her will. She increases their weight or lessens it according to her pleasure. She raps or taps upon the walls, the ceiling, the floor, with fine rhythm and cadence. In response to the requests of the spectators, something like flashes of electricity shoot forth from her body, and envelop her or enwrap the spectators of these marvellous scenes. She draws upon cards that you hold out, everything that you want – figures, signatures, numbers, sentences – by just stretching out her hand toward the indicated place.

  If you place in the corner of the room a vessel containing a layer of soft clay, you find after some moments the imprint in it of a small or a large hand, the image of a face (front view or profile) from which a plaster cast can be taken. In this way portraits of a face taken at different angles have been preserved, and those who desire so to do can thus make serious and important studies.

  This woman rises in the air, no matter what bands tie her down. She seems to lie upon the empty air, as on a couch, contrary to all the laws of gravity; she plays on musical instruments – organs, bells, tambourines – as if they had been touched by her hands or moved by the breath of invisible gnomes… This woman at times can increase her stature by more than four inches.
  —Chiaia, in a letter to Lombroso

   Pale lilacs, white tea, and candle wax.

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  Kumiho Perfume Oil

  Nine-tailed fox demon of Korean lore who transforms into the visage of an irresistible beauty in order to seduce men and lead them to their doom.

  A sharp, biting blend of crisp white tea and ginger.

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