As we have seen so often in our vignettes, Marylebone has always been always noted for its lovely ladies. Emma Hamilton, one of the great beauties of her age was married to Sir William Hamilton, diplomat and antiquarian at Marylebone parish church ( St Mary ) in 1791 having been “sold to the old man for £20,000” by his nephew.
Almost ten years later – and much stouter – Emma was back at St Mary’s for the christening of Horatia, her illegitimate daughter by England’s greatest hero, Lord Nelson. To avoid outraging public decency mother and father posed as Horatia’s godparents and even in adulthood the girl refused to believe that she was the offspring of the once Divine Emma.
Despised and disliked by most of her contemporaries, Emma seems much more attractive to us: Romney’s glorious paintings show a beauty that still resonates in the 21st century – all that magnificent hair and a gorgeous mouth; attractive too is Emma’s love of food and drink – to the point of falling off her chair at table and at the cost of her figure. Extravagant, loyal, outspoken (in a broad Cheshire accent) and generous, Emma Hamilton doted on Nelson to the point of mania. She even celebrated him in her dress, devising nautical fantasies of sea blue, golden anchors and saucy sailor hats. How she would have revelled in Sel de Marin by Heeley Parfums – the sun, the sea, the salt spray…alas! Too late for her – but a unique opportunity for you. Why not pop round to Les Senteurs this afternoon?
And you have the chance to meet Mr. Heeley, creator of sel Marin, himself! Please join us at our Seymour Place branch on May 8th from 17:30 to meet James Heeley, as well as the creative minds behind Eau d’Italie and Nu_be.
I warned (or promised) you that we should return again to the theme of sleep; and what better time than now when the lurch into spring plays havoc with the body. The clocks go forward, temperatures fluctuate violently, clothes feel too heavy or too light. An Iraqi Kurdish barber once told me that the logical healthy remedy was blood letting – to drain off the poisons of the winter, to relieve seasonal tensions and impurities and that sensation of fogged vagueness. Twilight Sleep therefore strikes a chord: it’s a title I had long bagged for use, but I now find that Edith Wharton beat me to it in 1927. My great aunt was sedated with the German twilight sleep procedure in 1922: she awoke with twin daughters and a foster baby in the bed. A dream transformation indeed.
The Greeks believed that dreams come to and fro from the Valley of Sleep: those that pass out through the Gates of Ivory are mere fantasies, those that leave through the Gates of Horn are destined to come true. The dreams and thoughts of Twilight Sleep are those wandering reveries of half reality, half unconsciousness when we drift and then come to ourselves still unable for a few seconds to distinguish fact from fiction – those moments when we startle awake at our desks, on the Tube or before the tv unsure where or who we are, maybe drooling a little, bemused and half stunned.
Parfumerie Generale’s L’Eau de Circe is a magical but baffling phantasm of this realm. A soft warm damp cloud tinted with all the hues of the setting summer sun, this perfume is mysterious as it is seductive. It references the ethereal and the earthy, the grotesque and the romantic. Circe was an enchantress from a family of magicians who beguiled Odysseus on his sea voyage home from Troy. The hero’s thwarted attempts to reach his wife in Ithaca follow a classic anxiety dream pattern: like those nightmares in which one tries continually to catch a train, pack a suitcase or find the right book, Odysseus is hindered at every turn by the intervention of a supernatural being. Cyclops, Sirens, Lotus Eaters all impede him. The lovely Circe lays on a luscious feast in the gardens of a scented palace for the crew of the traveller’s ship; then on a whim, disgusted by their gluttony and drunkenness, she transforms them into swine in a typical abrupt dream metamorphosis. With divine aid Odysseus forces Circe to restore his men to human shape and in another sudden volte face the witch becomes a benevolent fairy.
Pierre Guillaume’s scent floats in an intoxicating haze of lilacs, osmanthus. The initial effect is of harmony, gentle innocence and peace; but then the animalic powdery musky lilac starts to pound and a fruity vinous note of osmanthus introduces a faintly oppressive mood, heightened by a dampness, a humidity: hypnotic yes, but maybe with a touch of feminine menace. Is osmanthus perhaps one of those trees beneath which it is dangerous to sleep? Do the sleepers awake raving like those who doze beneath the cypress, the datura or the pink and white oleander? L’Eau de Circe captures that moment just before the gorging sailors become pigs, the moment when the sorceress’s baleful beautiful green eye freezes the feasters with a basilisk stare. It reminds us of Alma Tadema’s painting of another doomy banquet – the diners frozen in time as the suspended canopies of roses let fall and millions of petals suffocate the revellers beneath. L’Eau de Circe is a riddle worthy of the sphinx; we smell it like children thrilled by the beauty and terror of a fairytale, reassured by the certainty of a happy outcome