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  Lich’s Laboratory Home & Linen Spray

  Hissing vials of acid, swirls of thick incense, creeping mosses, flecks of grave loam, and noxious potions clutter the blackened stone biers of an abandoned burial vault.

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  The Trackless Erg Home & Linen Spray

  The merciless sun pounds on a sea of endless, wind-battered sand: desolate, lifeless, silent, and without end.

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  Erebos Home & Linen Spray

  Thus saying, from her side the fatal Key,

  Sad instrument of all our woe, she took;

  And towards the Gate rouling her bestial train,

  Forthwith the huge Porcullis high up drew,

  Which but her self not all the Stygian powers

  Could once have mov’d; then in the key-hole turns

  Th’ intricate wards, and every Bolt and Bar

  Of massie Iron or sollid Rock with ease

  Unfast’ns: on a sudden op’n flie

  With impetuous recoile and jarring sound

  Th’ infernal dores, and on thir hinges great

  Harsh Thunder, that the lowest bottom shook

  Of Erebus. She op’nd, but to shut

  Excel’d her power; the Gates wide op’n stood,

  That with extended wings a Bannerd Host

  Under spread Ensigns marching might pass through

  With Horse and Chariots rankt in loose array;

  So wide they stood, and like a Furnace mouth

  Cast forth redounding smoak and ruddy flame.

  Before thir eyes in sudden view appear

  The secrets of the hoarie deep, a dark

  Illimitable Ocean without bound,

  Without dimension, where length, breadth, and highth,

  And time and place are lost; where eldest Night

  And Chaos, Ancestors of Nature, hold

  Eternal Anarchie, amidst the noise

  Of endless warrs and by confusion stand.

   

  Solace in darkness, the personification of shadow: lavender, black vanilla, white melon, night-blooming jasmine, rose, cedar, cyclamen, violet, and hyacinth.

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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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