Scent
Flask
circa 1650
(enamelled gold)
This is tiny, once
held by the fingers of a lady at her toilette or by a gentleman bestowing a
token of love. Even tinier are its parrots and peacocks and hummingbirds, and
its spray roses, tulips and other flowers - the plumes and petals of which lie
together like puzzle pieces against the white skies.
With a gentle tug the nozzle is meant to be popped off to
reveal (possibly) a little rod either of treated ceramic or wood and imbibed
with the perfume. It is easy to picture that, mimicing the flask's tapering
neck, the scent whisped out like an escaped flame, creating a transient
halo above the gilt mouth. The flask's neck also suggests that the perfume was
not something to be gushed out half-heartedly, but used in delicate quantities.
Perhaps the
immaculacy of this flask is in response to its function. Everything is intentionally
delicate, whether it be the ease of transition from one colour or line to
another, or the lightness of feathers and soft winds. Seeing the flora and
fauna brightly lit by such a magnificent palette not only whets one's eyes and ears
(is it not possible to imagine the birds' soft calls or the rustling of
leaves?) but also one's nose. The thought of perfume coordinates perfectly, as
the flask uses its outer décor to foreshadow its contents inside. And for those
who wished to convey pristine elegance this palm-sized bottle certainly
fulfiled that purpose.
(Please note that this flask is no taller than a quarter of the surface size of one's palm.)
(Please note that this flask is no taller than a quarter of the surface size of one's palm.)
