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We’ve considered before smell, the unsung hero of the senses. Today, Kaja Šeruga explains how scientists using chemistry, archival records, and AI are reviving the aromas of old libraries, mummies and battlefields…

We often learn about the past visually — through oil paintings and sepia photographs, books and buildings, artifacts displayed behind glass. And sometimes we get to touch historical objects or listen to recordings. But rarely do we use our sense of smell — our oldest, most primal way of learning about the environment — to experience the distant past.

Without access to odor, “you lose that intimacy that smell brings to the interaction between us and objects,” saysanalytical chemist Matija Strlič. As lead scientist of the Heritage Science Laboratory at the University of Ljubljana in Slovenia and previously deputy director of the Institute for Sustainable Heritage at University College London, Strlič has devoted his career to interdisciplinary research in the field of heritage science. Much of his work focused on the preservation and reconstruction of culturally significant scents.

Reconstructed scents can enhance museum and gallery exhibits, says Inger Leemans, a cultural historian at the Royal Netherlands Academy of Arts and Sciences. Smell can provide a more inviting entry point, especially for uninitiated visitors, because there’s far less formalized language for describing smell than for interpreting visual art or displays. Since there’s no “right way” of talking about scent, she says, “your own knowledge is as good as the others’.”

Despite their potential to enrich our understanding of history and art, smells are rarely conserved with the same care as buildings or archaeological artifacts. But a small group of researchers, including Strlič and Leemans, is trying to change that — combining chemistry, ethnography, history and other disciplines to document and preserve olfactory heritage…

Read on for the fascinating details: “Recreating the smells of history,” from @knowablemag.bsky.social.

* Edward Thomas, “Digging“

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As we take a whiff, we might recall that it was on this date in 1924 that Coco Chanel agreed with the Wertheimer brothers Pierre and Paul, directors of the perfume house Bourjois, to create a new corporate entity, Parfums Chanel, Its signature product was Chanel No. 5. She had been selling small quanitites of the scent in her boutique since 1921.

Traditionally, fragrances worn by women had fallen into two basic categories. Respectable women favored the essence of a single garden flower while sexually provocative indolic perfumes heavy with animal musk or jasmine were associated with women of the demi-monde. Chanel sought a new scent that would appeal to the flapper and celebrate the seemingly liberated feminine spirit of the 1920s. Her scent was formulated by chemist and perfumer Ernest Beaux, who designed an unprecedented olfactory architecture, a bouquet of 80 scents whose precious notes were blended with high proportions of aldehydes, organic compounds that carry a crisp, soapy, and floral citrusy scent. In late 1920, when presented with small glass vials containing sample scents numbered 1 to 5 and 20 to 24 for her assessment, she chose the fifth vial. Chanel told Beaux, “I present my dress collections on the fifth of May, the fifth month of the year and so we will let this sample number five keep the name it has already, it will bring good luck.”

The first promotion for Chanel No. 5 appeared in The New York Times on December 16, 1924– a small ad for Parfums Chanel announcing the Chanel line of fragrances available at Bonwit Teller, an upscale department store. The fragrance, of course, become a fave. An Andy Warhol subject and worn by everyone from Marilyn Monroe and Catherine Deneuve to Mad Men’s Peggy Olson, the perfume, is a foundational part of fragrance history… and still sells a bottle every 30 seconds.

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