An Experiment in Room Scenting
An Exercise in Pondering
Based on a Theory
Drawn from Several Examples
and
One Grand Assumption

Good Gentles -

This is the arguement for a theory.

So far I have found no extant examples of these items.

And so my only hope is to persuade you, by reasonable arguement, that this is indeed one possible answer for the mystery posed by these bottles. It is by no means the only answer, and I make no claims that it is the right answer, but instead I present this to you as an exercise in thinking.

If you only wish to deal with certainties and exactitudes then I fear this will not appeal to you, but if you are willing to ponder a question then let us consider this one together.

And as always...

if you know something about these that I may not -

then please share it with me.

It all began with one simple question... What is that?

This strange little bottle kept showing up in interior scenes. It had a large round bottom, and a very tall narrow neck that ended in a small opening. And in every case there was a piece of white cloth tied over the mouth of the bottle, or stuffed into the very top of the neck.

Examples are found in:

   "The Annunciation with St. Eridimus" by Carlo Crivelli ca. 1439
   "The Annunciation" by Rogier van der Weyer ca. 1435
   "The Annunciation" by Hans Memling
   "The Merode Altar Piece" by Robert Campin early1400's
   "The Study of St. Jerome" by Jan van Eyck 1442

What Can We See From These Examples...

We can make out several consistent features of these bottles -

1. They are of the same shape. While exact measurements differ from bottle to bottle, they can be generally described as having a large bulb at the bottom and a long narrow neck ending in a small round mouth, which has no pouring spout.

2. Their placement in the room is usually upon a shelf above the fire place, or upon a mantle.

3. The top of the bottle is covered with a piece of white cloth, most likely linen, that is either tied firmly in place or stuffed into the neck of the bottle.

4. All the bottles contain a liquid, which is clear and colorless.

The Assumption

To move further ahead with this exercise it becomes necessary to make an assumption.

The assumption is -- that based on the similarity of their portrayal these are independent examples of a single item.

What Could That Item Be? ...

The initial list of items that this could represent is very long. From a simple bottle of water, to some type of insect trap.

Some of the Possibilities

1. Perhaps it is a beverage? This makes little sense because in 2 of the five cases the linen at the top of the bottle is tied on with a knot. So it wouldn't be easy to remove the top to pour the liquid. Some might argue that you cuold pour though the cloth, but that would leave a mess that likely would turn rank if the liquid is other than water. Also pouring through the linen would increase the likelyhood of spilling. It would also get the outside of the bottle wet everytime it was used.

2. Is it a symbol of purity? There is a great current in the Flemish (and indeed other nations) school of art for populating the scene with symbols that enhance the meaning of the scene. Some consider that the bottle is a representation of Mary's purity (O'Neill, 38), and indeed in scenes of the Annunciation this is plausible, but this symbolism does not deny these bottles from having a practical purpose in the houses of the day.

3. Is it a flea trap? In his work on Natural Magick, Baptista-Porta gives a detailed description on the process for ridding the house of fleas. His description, however, is for the production of a paste that is placed about the home, not a liquid.

But by looking at the evidence of what we see,
we can make a better arguement.

The Clues

1. The stopper or cover for the bottle is in all cases made of cloth. This would prove and effective method for keeping large particles and stray objects out of the bottle, but it does little to keep the liquid from spilling, or leaving the bottle from evaporation.

2. The shape of the bottle, the bulb at the bottom - A large bulb allows for a greater surface area. This would allow whaterver was in the bottle to have greater interaction with the air. If the concentration of the vapor in the bottle is increased by the addition of heat then there is more vapor moving through the airspace above the liquid in the bottle and into the neck of the bottle.

3. The shape of the bottle, the long neck - One common method, used to seperate heavier vapors from lighter vapors.is to pass them through a long tube. Heavier vapors which may have insufficient energy to travel the length of the neck will collect on the interior of the bottle neck. Lighter vapors which may carry greater energy will be able to escape from the neck of the bottle and into the air of the room. (Geber, chp. XVII)

4. The location of the bottles - In all cases, except the Crivelli interior, the bottles are located on the mantle piece of the fireplace. Which implies an addition of heat, or at least a recognition of the importance of warmth.

This leaves us with

A bottle which is open to the air above, so that vapors may escape from the contents within. The vapors are encouraged to escape by the presence of warmth. The vapors, so encouraged to escape, are condensed within the neck of the bottle, so that as they leave the bottle their strength is increased.

Testing the theory ...

The Materials

1. A flask of glass, obtained from Cornell labratories, which has a large bulb at the base and a long thin neck. (a 500mL volumetric flask)

2. Water and an oil of some scent

3. A square of linen and a piece of linen thread

4. A coffee can and a tea light. (optional)

Does it work? ...

For Further Study...

Two areas which may indeed help to explain the role of these bottles are in need of further delving. Medical texts of the day may be helpful in explaining the role of scent in the maintinence and delivery of good health. Also I need to read more into the maintinence of a household. For there it may mention the various methods used to sweeten a room.

Bibliography

Baptiste-Porta. Natural Magick. Chapter XV.

O'Neill, J. P., Ed. (1987). The Metropolitan Museum of Art: The Renaissance in the North. New York, The Metropolitan Museum of Art.

Russel, Richard. trans. The Alchemical Works of Geber. York Beach, Me.: 1994.

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