Perfumes & flavours with their products are part & parcel of our everyday life. The demand worldwide for perfumes is enormous & constantly on the increase. The perfume & flavour industry has become a major business. Mans search for substances which can produce new flavours & perfumes, substitute for expensive & or scarce ones, or augment & enhance existing desirable ones continuous a pace. The manufacture of perfume oils & flavouring compounds is an art & it means metering of the individual components in accordance with the formula, followed by blending for homogenization. But in all perfume & flavour house the oil formulas are among the best kept secrets & represent the knowhow. They play a major role in the success of the companies. Odors are also commonly called scents, which can refer to both pleasant and unpleasant odors. The terms fragrance and aroma are used primarily by the food and cosmetic industry to describe a pleasant odor, and are sometimes used to refer to perfumes. The odours are classified in various kinds such as floral, woody, rustic, balsamic, fruity, animal etc. There are numerous types of applications of perfumes in modern industrialized society such as perfumes used in soaps & detergents, paints, adhesives, air deodorants, cosmetics, toilet & beauty preparations, textiles, beverages, foods, medicines, and many more. The global flavour industry can be characterized as highly technical, specialized, and innovative. This industry is highly competitive and concentrated, compared to other product categories within the food and beverage market. The global flavours market is predicted to grow at a Compound Annual Growth Rate (CAGR) of 2% per annum.
The present book deals with the new techniques & manufacturing processes with formulae of different useful and demandable perfumes and flavours. This book will definitely help not only to perfumers & flavour chemists but to all upcoming entrepreneurs, scientists, technocrats etc.
1.CLASSIFICATION OF ODOURS AND ODORANTS
2. FLOWER PERFUMES
Rose
Jasmin
Orange flower and Neroli
Violet
Acacia
Broom
Carnation
Cyclamen
Fougere (Fern)
Gardenia
Hawthorn
Heliotrope
Honeysuckle
Hyacinth
Iris
Lilac
Lily-of-the-Valley
Linden (Lime Blossom)
Magnolia
Mignonette (Reseda)
Mimosa
Narcissus
Nardo
New-mown Hay
Nicotiana
Opopanax
Orchid (Orchide)
Pansy
Peony
Phlox
Stocks
Sweet Pea
Syringa (Philadelphus)
Trefle (Clover)
Tuberose
Verbena
Wallflower
Wistaria
Ylang-Ylang
3. SOPHISTICATED PERFUMES
Introductory
Floral Bouquet Perfumes
Aldehydic Perfumes
Chypre Types
Oriental Perfumes
Green Perfumes
Dominant Note Types
4. PERFUMES FOR MEN
Eau De Cologne
Toilet Waters
Modified Colognes
Perfumes for Men
5. PERFUMES FOR MANY PURPOSES
The Uses of Perfumes
Perfumes for Soaps
Perfuming Synthetic Detergents
Perfumed Disinfectants
Perfuming the Air
Incense and Fumigants
Perfumed Candles
Paints and Polishes
Other Household Products
Perfuming Cosmetics
Adapting the Perfume to the Vehicle
Perfuming Creams
Perfuming Powders
Perfuming Lipstick and Nail Lacquer
Hair Preparation Perfumes
Perfumed Aerosols
In Pharmacy and Medicine
Industrial Perfumes
Perfumes for Textiles
Perfumed Ink and Paper
Masking Malodours
Perfume in Agriculture
Perfumed Insecticides
And Many Other Uses...
Flavours as Perfumes
6. ESSENTIAL OILS USED IN PERFUMES
Almond, Biiter
Ambergris (Tincture)
Ambrette, Seed
Angelica, Root
Angelica, Seed
Angostura
Anise, Seed
Anise, Star
Artemisia
Asarum
Asafoetida (Resinoid)
Balm
Basil, Sweet
Bay
Beeswax (Absolute)
Benzoin, Siam (Resinoid)
Benzoin, Sumatra (Resinoid)
Bergamot
Birch, Tar
Boronia (Absolute)
Broom (Absolute)
Bruyere (Absolute)
Buchu, Leaf
Cabreuva
Cade
Cajeput
Calamus
Calendula (Concrete, Absolute)
Camphor
Cananga
Caraway
Cardamom
Carrot
Cascarilla
Cassia
Cassie (Concrete, Absolute)
Castoreum
Cedarleaf
Cedarwood
Celery
Chamomile, German
Chamomile, Roman
Champaca (Concrete, Absolute)
Chenopodium
Cinnamon, Bark
Cinnamon, Leaf
Cistus (Resinoid)
Citronella
Civet (Absolute)
Clary Sage (Absolute)
Clove Bud
Clove Leaf
Copaiba Balsam
Coriander
Costus
Cravo
Cubeb
Cumin
Curcuma
Cypress
Davana
Dill
Dwarf Pine
Elemi (Resinoid)
Estragon
Eucalyptus Citriodora
Eucalyptus Dives
Eucalyptus Globulus
Eucalyptus Staigeriana
Fennel Bitter (Wild)
Fennel Sweet
Fenugreek (Resinoid)
Fir Needle
Fir Needle, Siberian
Fleabane
Flouve
Galbanum (Resinoid)
Gardenia
Garlic
Geranium
Ginger
Gingergrass
Grapefruit
Guaiacwood
Gurjun (Balsam)
Helichrysum (Concrete, Absolute)
Hop
Hyacinth (Absolute)
Hyssop
Jasmine (Absolute)
Juniper Berry
Laurel
Lavandin
Lavender
Lemon
Lemongrass
Lime
Linaloe Wood
Litsea Cubeba
Lovage
Mace
Mandarin
Marjoram
Mate (Absolute)
Mentha Citrata
Mignonette (Absolute)
Mimosa (Concrete, Absolute)
Monard
Musk (Tincture)
Mustard
Myrrh (Resinoid)
Myrtle
Narcissus (Concrete, Absolute)
Nepeta
Neroli
Niaouli
Nutmeg
Oakmoss (Resinoid, Absolute)
Olibanum (Resinoid)
Onion
Opopanax (Resinoid)
Orange Bitter
Orange Flowers (Concrete, Absolute)
Orange Sweet
Oregano
Orris
Osmanthus (Concrete, Absolute)
Palmarosa
Parsley
Parsnip
Patchouli
Pennyroyal
Pepper, Black
Peppermint, Arvensis
Peppermint, Piperita
Perilla
Peru Balsam
Petitgrain
Pimento
Pine
Pine Needle
Rose (Concrete, Absolute)
Rosemary
Rosewood
Rue
Saffron
Sage
Sandalwood
Sarsaparilla
Sassafras
Savin
Savory
Silver Fir Needle
Spearmint
Spike Lavender
Spruce
Storax (Resinoid)
Tagetes
Tamarind
Tansy
Thyme
Tobacco (Absolute)
Tolu Balsam (Resinoid)
Tonka Beans (Absolute)
Treemoss (Resinoid, Absolute)
Tuberose (Concrete, Absolute)
Turpentine (Rectified)
Valerian
Vanilla (Resinoid)
Vassoura
Verbena
Vetiver
Violet (Concrete, Absolute)
Wallflower
Wintergreen
Wormseed
Wormwood
Woodruff
Ylang Ylang
7. SYNTHETIC ODORANTS
Introduction
Materials Employed as Odorants
8. CHEMICALS USED IN FLAVOURS AND PERFUMES
Acetaldehyde
Acetate C-8
Acetate C-9
Acetate C-10
Acetate C-11
Acetate C-12
Acetatepa
Acetic Glacial (Pure)
Acetophenone
Alcohol C-7
Alcohol C-8
Alcohol C-9
Alcohol C-10
Alcohol C-11 (Undecylenic)
Alcohol C-11 (Undecylic)
Alcohol C-12
Alcohol C-16
Aldehyde C-7
Aldehyde C-8
Aldehyde C-9
Aldehyde C-10
Aldehyde C-11 (Undecylenic)
Aldehyde C-11 (Undecylic)
Aldehyde C-12 (Lauric)
Aldehyde C-12 (Mna)
Aldehyde C-14 (Myristic)
Aldehyde C-14 (Pure)
Aldehyde C-16 (Pure)
Aldehyde C-18
Aldehyde C-19
Aldehyde C-20
Allyl Sulfide
Ambrettolide
Amyl Benzoate
Amyl Butyrate
Amyl Cinnamic Aldehyde
Amyl Phenyl Acetate
Amyl Propionate
Anethole
Angelic Acid
Anisic Acid
Anisic Alcohol
Anisic Aldehyde
Anisole
Anisyl Acetate
Anisyl Formate
Anthranilic Acid
Benzaldehyde
Benzoic Acid
Benzyl Acetate
Benzyl Benzoate
Benzyl Cinnamate
Benzyl Formate
Benzyl Phenyl Acetate
Benzyl Propionate
Benzyl Salicylate
Benzyl Valerianate
Bornyl Acetate
Bromo Styrol
Butyl Benzoate
Butyric Acid
Butyric Aldehyde
Cadinene
Capric Acid
Caproic Acid
Caprylic Acid
Carvacrol
Caryophyllene
Cedrene
Cedryl Acetate
Cinnamic Acid
Cinnamic Aldehyde
Cinnamyl Acetate
Cinnamyl Benzoate
Cinnamyl Cinnamate
Cinnamyl Formate
Citral
Citric Acid
Citronellal
Citronellyl Acetate
Citronellyl Butyrate
Citronellyl Formate
Citronellyl Propionate
Citronellyl Valerianate
Coumarin
Coumarin Acid
P-cresyl Acetate
P-cresyl Phenyl Acetate
Cuminic Aldehyde
Cymol
Dimethyl Benzyl Carbinyl Acet Ate
Dimethyl Octanol
Dimethyl Phenyl Carbinyl Acetate
Diphenyl Oxide
Epoxy Linalyl Acetate
Ethyl Acetoacetate
Ethyl Alcohol
Ethyl Anisate
Ethyl Anthranilate
Ethyl Benzoate
Ethyl Caproate
Ethyl Cinnamate
Ethyl Formate
Ethyl Hexyl Carbinyl Acetate
Ethyl Linalyl Acetate
Ethyl Phenyl Acetate
Ethyl Salicylate
Eugenol
Eugenol Acetate
Fenchene
Formic Acid
Fumaric Acid
Geraniol
Geranyl Acetate
Geranyl Butyrate
Geranyl Caproate
Geranyl Phenyl Acetate
Geranyl Propionate
Heliotropin
Heptane
Heptanoic Acid
Indole
Ionone
Isoamyl Acetate
Isoamyl Salicylate
Isobutyl Acetate
Isobutyl Benzoate
Isobutyl Cinnamate
Isobutyl Phenyl Acetate
Isobutyl Quinoline
Isobutyl Salicylate
Isopropyl Anthranilate
Lactic Acid
Lauric Acid
Linalool
Llnalyl Acetate
Linalyl Butyrate
Linalyl Cinnamate
Linalyl Formate
Llnalyl Propionate
Linalyl Valerianate
Malic Acid
Menthol
Menthone
Menthyl Acetate
P-methoxy Phenylbutyl Acetate
Methyl Alcohol
Methyl Anisate
Methyl Anthran1late
Methyl Benzoate
Methyl Butyrate
Methyl Cinnamate
Methyl Eugenol
Methyl Hexyl Carbinyl Acetate
Methyl Phenyl Acetate
Methyl Salicylate
Musk Ambrette
Musk Ketone
Musk Xylol
Myrcene
Nerol
Nerolin
Neryl Acetate
Nonoic Acid
γ-octa Lactone
Octylene
Ocymene
Oxalic Acid
Phenyl Acetaldehyde
Phenyl Acetic Acid
Phenyl Ethyl Acetate
Phenyl Ethyl Alcohol
Phenyl Ethyl Anthranilate
Phenyl Ethyl Butyrate
Phenyl Ethyl Cinnamate
Phenyl Ethyl Formate
Phenyl Ethyl Phenyl Acetate
Phenyl Ethyl Propionate
Phenyl Ethyl Salicylate
Phenyl Propyl Acetate
Phenyl Propyl Alcohol
Phenyl Propyl Butyrate
Phenyl Propyl Formate
Pinene
Propionic Acid
Propyl Alcohol
Propyl Formate
Pulegone
Pyroligneous Acid
Rhodinol
Rhodinyl Acetate
Rhodinyl Formate
Sabinene
Safrole
Salicylic Acid
Santalene
Santalol
Santalyl Acetate
Santene
Sebacic Acid
Skatole
Styralyl Acetate
Styrol
Succinic Acid
Tannic Acid
Tartaric Acid
Terpineol
Terpinyl Acetate
Terpinyl Formate
Terpinyl Propionate
Thymol
Tiglic Acid
Trichloromethylphenyl Carbinyl Acetate
Umbelliferone
Undecylenic Acid
Valerianic Acid
Vanillin
Vetiver Acetate
Yara Yara
9. AROMATIC CHEMICALS USED IN FLAVOUR AND PERFUME COMPOUNDS
Acetophenone
Amyl Cinnamic Aldehyde
Amyl Salicylate
Anisic Aldehyde
Benzaldehyde
Benzyl Acetate
Benzyl Alcohol
Benzyl Benzoate
Benzyl Cinnamate
Benzylidene Acetone
Benzyl Salicylate
Borneol
Bornyl Acetate
Cinnamic Acid
Cinnamic Alcohol
Cinnamic Aldehyde
Citral
Citronellal
Citronellol
Coumarin
P-cresyl Acetate
P-cresyl Methyl Ether
Cyclamen Aldehyde
Diphenyl Ketone
Diphenyl Oxide
Eugenol
Geraniol
Heliotropin
Hydroxycitronellal
Indole
Ionone
Linalool
Linalyl Acetate
Methyl Anthranilate
Methyl Heptyne Carbonate
P-methyl Quinoline
Methyl Salicylate
Musk Ambrette
Musk Ketone
Musk Xylene
Nerol
γ-nonalactone
Phenylacetaldehyde
Phenyl Acetic Acid
Phenyl Ethyl Acetate
Phenyl Ethyl Alcohol
Rose Crystals
Rose Oxide
Terpineol
γ-undelactone
Vanillin
10. NATURAL ODOURS OF AROMATIC CHEMICALS
Balsamic
Citrus
Fatty
Flowery
Grassy
Green-Floral
Harsh-Pungent
Herb-Like
Leaf-Green
Musky
Odorless-Faint
Waxy
Woody
Acacia
Bergamot
Carnation
Cassia
Chrysanthemum
Clove
Clover
Cyclamen
Fern
Frangipani
Gardenia
Geranium
Hawthorn
Heliotrope
Honeysuckle
Hyacinth
Iris
Jasmine
Jonquil
Lavender
Lilac
Lily of the Valley
Linden
Magnolia
Mignonette
Mimosa
Moon Flower
Morning Glory
Moss
Musk
Narcissus
Orange Blossom
Orchid
Patchouli
Pine (Needles)
Rose
Sweet Pea
Syringa
Tobacco
Trefle
Tuberose
Verbena
Violet
Wallflower
Wisteria
Wintergreen
Ylang Ylang
Seaweed (Algae)
Adonis
Forsythia
Fringe Tree
Fixatives for Perfumes
Ambergris
11. BASIC FLAVOURING MATERIALS
Introduction
Natural Flavors Simulated with Synthetic
Chemicals
FRUITY
Fruity
FRESH FRUIT
Apple
Apricot
Barberry
Bilberry
Blackberry
Black Currant
Blueberry
Cherry (Sweet and Sour)
Cranberry
Date
Gooseberry
Grape
Grape Fruit
Hop
Huckleberry
Lemon
Lime
Loganberry
Mandarin
Melon (Watermelon)
Mulberry
Orange
Peach (Freestone, Clin Gstone, Nectarine)
Pear
Plum (Prunes)
Pomegrana Te
Quince
Raspberry
Red Currant
Strawberry
TROPICAL FRUITS
Avocado
Banana
Cherimoya
Coconut
Guava
Mango
Papaya
Pineapple (Ananas)
DRY FRUITS
Almond, Bitter
Brazil Nut (Cream Nut, Butter Nut, Pura Nut, Shenut)
Cashew Nut
Chestnut
Hazelnut (Cobnuts, Filbert)
Macadamia (Queensland Nut)
Peanut
Pecan
Pistachio
Walnut
NATURALLY SWEET PRODUCTS
Honey
Licorice
Maple
Vanilla Beans
Woodruff
DAILY BEVERAGES
Cocoa-chocolate
Coffee
Kola
Tea
Alcoholic Beverages
Beer
Bitters
Cognac
Fermented Drinks
Fortified Beverages
Light or Still
Rum
Sparkling Wines
Vermouth
Whiskey
DAIRY PRODUCTS
Butter
Cheese
Milk
Yogurt
CULINARY ADDITIVES
Capsicum
Cucumber
Garlic
Hickory
Mustard
Onion
Paprika
Saffron
Smoke
Tarragon
Tomato
Turmeric
12. AROMATIC CHEMICALS USED IN FLAVOUR COMPOUNDING
Aldehyde C-18
Anethole
Anisaldehyde
Benzaldehyde
Benzyl Butyrate
Bourbonal
Carvone
Cinnamic Aldehyde
Cinnamyl Alcohol
Cinnamyl Butyrate
Cinnamyl Propionate
Citral
Citronellol
Coumarin
Cumic Aldehyde
Decyl Acetate
N-decyl Alcohol
N-decyl Aldehyde
Dodecyl Aldehyde
Ethyl Acetate
Ethyl Acetoacetate
Ethyl Benzoate
Ethyl Butyrate
Ethyl Malonate
Ethyl Myristate
Ethyl Oenanthate
Ethyl Pelargonate
Ethyl Propionate
Ethyl Sebacate
Ethyl Valerate
Eugenol
Geraniol
Geranyl Acetate
Geranyl N-butyrate
Heliotropin
Heptylic Aldehyde
Hydrocinnamic Aldehyde
Hydroxycitronellal
Ionone
Irone
Isoamyl Acetate
Isoamyl Butyrate
Isoamyl Valerate
Isobutyl Acetate
Isobutyl Butyrate
Isoeugenol
Linalool
Linalyl Acetate
Linalyl Butyrate
Menthol
Methyl Anthranilate
Methyl M-anthranilate
Methyl Eugenol
Methyl Heptyne Carbonate
Methyl Isoeugenol
Methylnonyl Acetaldehyde
Methyl Phenyl Acetate
Methyl Phenyl Glycidate
β-naphthol Isobutyl
β-naphthyl Ethyl Ether
Nerol
N-nonyl Alcohol
Nonyl Aldehyde
Octyl Acetate
N-octyl Alcohol
N-octyl Aldehyde
Octyl Butyrate
Phenyl Ethyl Acetate
Phenyl Ethyl Alcohol
Phenyl Ethyl Propionate
Rhodinol
Rhodinyl Acetate
Rhodinyl Butyrate
α-terpineol
Terpinyl Propionate
P-toluyl Aldehyde
N-undelactone
Undecylenic Aldehyde
Vanillin
13. SOLVENTS
Introduction
Solvents commonly used for flavors and perfumes
Acetone
Benzene
Corn Oil
Cottonseed Oil
Cyclohexane
Dlethyl Phthalate
Ethyl Acetate
Ethyl Alcohol
Glycerol
Glyceryl Triacetate
N-hexane
Isopropyl Alcohol
Polysorbate 80
Propylene Glycol
Soybean Oil
Water, Distilled
14. COLORANTS FOR FLAVOURS AND PERFUMES NATURAL COLORS
Alkanet
Annatto
β-Apo-8' -carotenal
Beet
Buckthorn
Campeachy
Canthaxanthin
Caramel
Catechu
Chlorophyll
Cochineal
Cud Bear
Curcuma
Erythrosine
Guanine
Huckleberry
Indigotin
Kino
Mallow Flowers
Paprika
Pernambuco
Pokeberry
Safflower
Saffron
Sandalwood
Tartrazine
Titanium Dioxide
Turmeric
Ultramarine
Yellowwood
Zinc Oxide
Colors of Common Flavors and Perfumes
15. STABILIZERS
Agar-agar
Arabic Gum
Bean Gums, Locust
Carrageen
Guar Gum
Karaya Gum
Pectin
Tragacanth Gum
16. FORMULATION OF PERFUMES
Acacia
Acetic Acid, Tincture
Alpestrine, Perfume
Amber, Base
Amber, Concrete (Fixative)
Amber, Liquid (Chypre Basis)
Ambergris, Perfume Imitation No. 1
Ambergris, Perfume Imitation No. 2
Ambergris, Tincture
Bergammonia, Disinfectant
Bergamot, Essence (Natural) No. 1
Bergamot, Essence (Natural) No. 2
Bouquet, No. 1 (For Soap)
Bouquet, No. 2 (For Soap)
Bouvardia
Calamus, Imitation No. 1
Calamus, Imitation No. 2
Camphor, Tincture
Cananga (For Soap)
Capsicum
Carnation, Imitation No. 1
Carnation, Imitation No. 2
Carnation (For Soap)
Carnation, Pink (Perfume)
Castor, Tincture No. 1
Castor, Tincture No. 2
Cedrela, Wood Type
Citronella (For Soap)
Coconut, Extract (Natural)
Coconut, Paste
Cologne
Color Base Standard Formula No. 1
Color Base Standard Formula No. 2
Color Mixture
Colors (Natural Dyes)
Cover Odor, Perfume No. 1
Cover Odor, Perfume No. 2
Cover Odor, Perfume No. 3
Cyclamen, Base (Synthetic)
Cyclamen (for Soap)
Deodorant for Cream
Deodorant for Vessels
Deodorant for Water
Deodorants (Masking Agent)
Deodorants (Masking Agent) for Heavy Odors
Deodorants (Masking Agent) Grassy Odors
Diacetyl, Tincture
Eau De Cologne
Eau De Cologne (for Soap)
Eglantine (Wild Rose)
Esters, General Base
Fenugreek, Tincture
Fern (for Soap)
Floral Fragrance (for Soap)
Floral, Imitation No. 1
Floral, Imitation No. 2
Fougere
Fougere, Base (Fern)
Frangipanni, Imitation No. 1
(Acutifolia, Alba, Rubra)
Frangipanni, Imitation No. 2
Frangipanni, Imitation No. 3
Frangipanni, Imitation No. 4
Freshener, Perfume
Gardenia, Base
Geranium
Geranium, Imitation (for Soap)
Geranium, Synthetic
Gingergrass (for Soap)
Girofl, Imitation No. 1
Girofl, Imitation No. 2
Halo, Sea Salt Odor
Hawthorn
Hawthorn (for Soap)
Heliotrope (for Soap)
Herbal Base, Gold Water
Hip, Extract (Natural)
Hip, Imitation No. 1
Honey, Synthetic (for Perfume)
Honeysuckle
Hyacinth
Ionone
Iris
Iris, Synthetic
Jasmine (for Brilliantine)
Jasmine Grandiflora
Jasmine, Imitation No. 1
Jasmine, Imitation No. 2
Jasmine, Imitation No. 3 (for Soap)
Jasmine, Infusion
Jasmine, Synthetic No. 1
Jasmine, Synthetic No. 2
Jasmine, Synthetic No. 3
Jasmine, Synthetic No. 4
Jasmine, Synthetic No. 5
Jasmine, Synthetic No. 6
Jonquil (Daffodil), Imitation
Jonquil (Daffodil), Synthetic
Lavender, Essence (Natural)
Lavender, Imitation No. 1
Lavender, Imitation No. 2
Lavender, Imitation No. 3
Lavender, Imitation No. 4
Lavender, Imitation No. 5
Lavender, Imitation No. 6
Lavender, Imitation No. 7
Lavender, Imitation No. 8
Lavender, Imitation No. 9
Lavender, Imitation No. 10
Lavender, Imitation No. 11
Lavender, Imitation No. 12 (for Soap)
Lavender, Sweet
Leather
Lilac, Imitation No. 1
Lilac, Imitation No. 2
Lilac, Imitation No. 3
Lilac, Imitation No. 4
Lilac, Imitation No. 5
Lilac, Imitation No. 6
Lilac, Imitation No. 7
Lilac, Imitation No. 8
Lilac, Imitation No. 9 (for Soap)
Lilac, Synthetic No. 1 (for Soap)
Lilac, Synthetic No. 2 (for Soap)
Lily, Base
Magnolia
Mignonette (Reseda)
Mimosa, Imitation
Mimosa, Synthetic
Moss
Muguet (Lily of the Valley), Imitation No. 1
Muguet (Lily of the Valley), Imitation No. 2
Muguet (Lily of the Valley), Imitation No. 3
(For Soap)
Muguet (Lily of The Valley), Synthetic No. 1
Muguet (Lily of the Valley), Synthetic No. 2
Musk
Musk, Imitation No. 1 (for Powder)
Musk, Imitation No. 2 (for Soap)
Narcissus, Imitation No. 1 (for Powder)
Narcissus, Imitation No. 2 (for Cologne)
Narcissus, Imitation No. 3 (for Cologne)
Narcissus, Imitation No. 4 Poeticus (for Cologne)
Narcissus, Imitation No. 5 (for Soap)
Narcissus, Synthetic No. 1
Narcissus, Synthetic No. 2
Narcissus, Synthetic No. 3
Narcissus, Synthetic No. 4
Neroli, Imitation No. 1
Neroli, Imitation No. 2
Neroli, Imitation No. 3
Neroli, Imitation No. 4 (for Soap)
Nerolin
Neutroleum, Deodorizing Perfume
New Mown Hay (Foin Coupe), Imitation No. 1
New Mown Hay (Fon Coupe), Imitation No. 2
New Mown Hay (Foin Coupe), Imitation No. 3
Opoponax, Imitation No. 1
Opoponax, Imitation No. 2
Opoponax, Imitation No. 3
Opoponax, Imitation No. 4 (for Soap)
Orange Blosoom, Bouquet (for Soap)
Orange Flower, Imitation No. 1
Orange Flower, Imitation No. 2
Orange Flower, Imitation No. 3
Orange Flower, Synthetic No. 4
Orchid, Imitation
Orris Root, Extract (Natural)
Orris Root, Florentine
Orris Root, Synthetic
Pathouli, Imitation No. 1 (for Soap)
Pathouli, Imitation No. 2 (Ffor Toilet Powder)
Pine, Bouquet (for Soap)
Pine, Imitation No. 1
Pine, Imitation No. 2
Pine Needle
Pine Needle, Siberian, Imitation No. 1
Pine Needle, Siberian, Imitation No. 2
Pine Needle, Siberian, Imitation No. 3
Rose, Bulgarian Type
Rose, For Cream
Rose, For Face Powder No. 1
Rose, For Face Powder No. 2
Rose, Imitation No. 1
Rose, Imitation No. 2
Rose, Imitation No. 3
Rose, Imitation No. 4
Rose, Imitation No. 5 (for Cosmetic Cream)
Rose, Imitation No. 6 (for Soap)
Rose, Imitation No. 7
Rose, Imitation No. 8
Rose, Imitation No. 9 (for Perfume)
Rose, Imitation No. 10
Rose, Imitation No. 11
Rose, Imitation No. 12
Rose, Imitation, No. 13
Rose, Imitation No. 14
Rose, Imitation No. 15
Rose, Imitation No. 16
Rose, Imitation No. 17
Rose, Imitation No. 18
Rose, Imitation No. 19
Rose, Imitation No. 20
Rose Macedone
Rose, Moss
Rose, Oil, Synthetic
Rose, Oriental
Rose Otto
Rose, Synthetic No. 1 (General Base for Rose Odor)
Rose, Synthetic No. 2
Rose, Synthetic No. 3
Rose, Synthetic No. 4 (Milk-Like Compound)
Rose, White
Sandalwood Santal, (for Soap)
Sassafras, for Soap No. 1
Sassafras, for Soap No. 2
Sebacic Acid, Stabilizer for Perfume
Soap, Perfume No. 1
Soap, Perfume No. 2
Soap, Perfume No. 3
Soap, Perfume No. 4
Soap, Perfume No. 5
Sweet Pea, Blossom
Syringa, Imitation No. 1
Syringa, Imitation No. 2
Tobacoo for Snuff
Tobacco Perfumes, General Basic Material No. 1
Tobacco Perfumes, General Basic Material No. 2
Tobacco, Strong Odor
Thefl (Clover, Trefoil) (for Soap)
Tuberose, Imitation (for Soap)
Tuberrose, Synthetic
Uny Cologne, Perfume Base
Vaporous Perfume, Imitation No. 1
Vaporous Perfume, Imitation No. 2
Vaporous Perfume, Imitation No. 3
Violet, For Face Powder
Violet, Imitation No. 1
Violet, Imitation No. 2
Violet, Imitation No. 3
Violet, Imitation No. 4 (for Soap)
Violet, Imitation No. 5 (for Soap)
Violet, Imitation No. 6
Violet Leaf
Violet, Synthetic
Wall Flower
Winter Green, Imitation (for Soap)
Ylang Ylang, Imitation No. 1
Ylang Ylang, Imitation No. 2
Ylang Ylang, Imitation No. 3
Ylang Ylang, Imitation No. 4
Ylang Ylang, Imitation No. 5
Ylang Ylang, Synthetic No. 1
Ylang Ylang, Synthetic No. 2
17. FORMULATIONS OF FLAVOURS
General Method for the Extraction of Natural Flavors from Fresh or Dry Fruits
Neutral Esters Mixture Base
Abbey, Benedictine Type
Absinthe
Advocaat (Advokaat)
Allspice, Oil
Almond, Bitter
Almond, Bitter Essence (Natural)
Almond, Bitter (for Soap)
Almond, Bitter Imitation
Almond, Bitter No. 1
Almond, Bitter No. 2
Almond, Bitter No. 3
Almond, Bitter No. 4
Almond, Bitter No. 5
Almond, Bitter No. 6
Almond, Bitter No. 7
Almond, Bitter, Synthetic No. 1
Almond, Bitter, Synthetic No. 2
Almond, Bitter, Synthetic No. 3
Almond, Bitter Synthetic No. 4
Almond, Imitation
Almond, Milk (Orzata)
Almond, Peach
Angelic, Tincture
Angostura, Bitter
Anise Base
Aniseed
Anisette, Oil No. 1
Anisette, Oil No. 2
Apple, Base
Apple, Essence (Natural) No. 1
Apple, Essence (Natural) No. 2
Apple, Essence (Natural) No. 3
Apple, Essence (Natural) No. 4
Apple, Essence (Natural) No. 5
Apple, Imitation No. 1
Apple, Imitation No. 2
Apple, Imitation No. 3
Apple, Imitation No. 4
Apple, Synthetic No. 1
Apple, Synthetic No. 2
Apple, Synthetic No. 3
Apple, Synthetic No. 4
Apple, Synthetic No. 5
Apple, Synthetic No. 6
Appled, Synthetic No. 7
Apple, Synthetic No. 8
Apple, Synthetic No. 9
Apple, Synthetic No. 10
Apple, Synthetic No. 11
Apple, Synthetic No. 12
Apple, Synthetic No. 13
Apple, Synthetic No. 14
Apricot, Essence (Natural) No. 1
Apricot, Essence (Natural) No. 2
Apricot, Imitation No. 1
Apricot, Imitation No. 2
Apricot, Imitation No. 3
Apricot, Imitation No. 4
Apricot, Imitation No. 5
Apricot, Synthetic No. 1
Apricot, Synthetic No. 2
Apricot, Synthetic No. 3
Apricot, Synthetic No. 4
Apricot, Synthetic No. 5
Aubepine (Hawthorn)
Avocado
Banana, Essence (Natural) No. 1
Banana, Essence (Natural) No. 2
Banana, Imitation No. 1
Banana, Imitation No. 2
Banana, Imitation No. 3
Banana, Imitation No. 4
Banana, Imitation No. 5
Banana, Synthetic No. 1
Banana, Synthetic No. 2
Banana, Synthetic No. 3
Banana, Synthetic No. 4
Banana, Synthetic No. 5
Barbecue
Barbecue Sauce, Hunt Type
Barberry, Essence (Natural)
Benedictine No. 1
Benedictine No. 2
Bergamot, Flavor
Bilberry, Essence (Natural) No. 1
Bilberry, Essence (Natural) No. 2, Red
Bilberry, Essence (Natural) No. 3 Scandinavian Type
Bilberry, Imitation No. 1
Bilberry, Imitation No. 2
Bilberry, Imitation No. 3
Bitter No. 1, Unicum
Bitter No. 2, Spanish
Bitter No. 3, Stomach
Blackberry, Essence (Natural)
Blackberry, Imitation No. 1
Blackberry, Imitation No. 2
Blackberry, Imitation No. 3
Blackberry, Synthetic
Black Cherry
Black Currant
Black Currant, Synthetic
Black Pepper, Imitation No. 1
Black Pepper, Imitation No. 2
Blueberry, Essence (Natural)
Brandy (Cognac) No. 1
Brandy (Cognac) No. 2
Bread, Fresh Roasted Flavor
Butter, Flavor, Imitation No. 1
Butter, Flavor, Imitation No. 2
Butter, Flavor, Imitation No. 3
Butter, Flavor, Imitation No. 4
Butter, Flavor, Imitation No. 5
Butter, Flavor, Imitation No. 6
Butter, Flavor, Synthetic
Butter, Rum
Butterscotch, Imitation No. 1
Butterscotch, Imitation No. 2
Butterscotch, Imitation No. 3
Butterscotch, Imitation No. 4
Butterscotch, Imitation No. 5
Butterscotch, Imitation No. 6
Cacao, Extract (Natural) No. 1, Colorless
Cacao, Extract (Natural) No. 2, Brown
Cacao, Imitation
Cacao, Synthetic
Cake, Flavor No. 1
Cake, Flavor No. 2
Caper, Extract (Natural)
Capsicum, Extract (Natural)
Caramel, Flavor No. 1
Caramel, Flavor No. 2
Caraway, Imitation No. 1
Caraway, Imitation No. 2
Caraway, Imitation No. 3
Caraway, Imitation No. 4
Caraway, Imitation No. 5
Cardamom, Imitation No. 1
Cardamom, Imitation No. 2
Carnation, Flavor
Carrot, Extract (Natural)
Cascarilla, Tincture
Cashew, Extract (Natural)
Cassia, Imitation No. 1
Cassia, Imitation No. 2
Cassia, Imitation No. 3
Cassia, Imitation No. 4
Cassia, Imitation No. 5
Cassia, Imitation No. 6
Cassia, Imitation No. 7
Cassia, Imitation No. 8
Cassia, Imitation No. 9
Champagne, Cedar, Imitation
Champagne, Flavor
Chartreuse
Chartreuse (Liqueur) No. 1
Chartreuse (Liqueur) No. 2
Cheese, Blue, Synthetic No. 1
Cheese, Blue, Synthetic No. 2
Cheese Roquefort Type
Cheese, Synthetic
Cherimoya, Synthetic
Cherry Black, Essence (Natural)
Cherry Blossom, No. 1
Cherry Blossom No. 2
Cherry Brandy, No. 1
Cherry Brandy, No. 2
Cherry Brandy, Synthetic
Cherry, Imitation No. 1
Cherry, Imitation No. 2
Cherry, Imitation No. 3
Cherry, Imitation No. 4
Cherry, Imitation No. 5
Cherry, Imitation No. 6
Cherry, Imitation No. 7
Cherry, Imitation No. 8
Cherry, Imitation No. 9
Cherry, Imitation No. 10
Cherry, Imitation No. 11
Cherry, Imitation No. 12
Cherry, Imitation No. 13
Cherry, Imitation No. 14
Cherry, Imitation No. 15
Cherry, Imitation No. 16
Cherry, Imitation No. 17
Cherry Red Essence (Natural) Agri
Cherry, Synthetic No. 1
Cherry, Synthetic No. 2
Cherry, Synthetic No. 3
Cherry, Synthetic No. 4
Cherry, Synthetic No. 5
Cherry, Synthetic No. 6
Cherry, Synthetic No. 7
Cherry, Synthetic No. 8
Cherry, Synthetic No. 9
Cherry Wild, Agriot, Synthetic
Chervil, Essence (Natural)
Chocolate, Essence (For Praline Liqueur)
Chocolate, Falvor (Natural)
Chocolate, Flavor, Synthetic
Chocolate, Hardener
Chypre, Base for Bouquet (Aroma of Wine and Liquor)
Cinnamon, Imitation
Citrus Fruits, Extract from Peels
Clove
Coca, Flavor
Cocoa, Essence (Natural)
Coffee, Extract (Natural) No. 1, Brown
Coffee, Extract (Natural) No. 2, Colorless
Coffee, Extract (Natural) No. 3 Brown
Coffee, Extract (Natural) No. 4, Colorless
Coffee, Imitation No. 1
Coffee, Imitation No. 2
Coffee, Imitation No. 3
Coffee, Synthetic
Cognac, Base, Synthetic
Cognac, Imitation No. 1
Cognac, Imitation No. 2
Cognac, Imitation No. 3
Cognac, Imitation No. 4
Cognac, Imitation No. 5
Cognac, Imitation No. 5
Cognac, Imitation No. 6
Cognac, Imitation No. 7
Cola, Imitation No. 1 (Syrup)
Cola, Imitation No. 2 (Syrup)
Cola, Tincture
Coriander, Imitation No. 1
Coriander, Imitation No. 2
Cranberry
Cranberry, Synthetic
Cream Paste
Crystal Beverages
Cucumber, Extract (Natural)
Cucumber Milk (for Cosmetics)
Culinary, Extract (Natural)
Curacao, Imitation No. 1, Liquor Base
Curacao, Imitation No. 2, Liquor Base
Curacao, Imitation No. 3, Liquor Base
Curacao, Imitation No. 4 Liquor Base
Curacao, Imitation No. 5, Liquor Base
Curacao, Imitation No. 6
Currant, Extract (Natural) No. 1
Currant, Extract (Natural) No. 2
Currant, Imitation No. 1
Currant, Imitation No. 2
Currant, Imitation No. 3
Currant, Imitation No. 4
Currant, Imitation No. 5
Currant, Imitation No. 6
Currant, Synthetic No. 1
Currant, Synthetic No. 2
Currant, Synthetic No. 3
Currant, Synthetic No 4
Current, Synthetic No. 5
Currant, Synthetic No. 6
Date, Extract (Natural)
Date, Imitation No. 1
Date, Imitation No. 2
Date, Synthetic
Fernet Branca Essence
Fig, Essence (Natural)
Fondant Orgeat Praline
Fortified Extracts from Vegetables
Fruit Extract, Natural Flavor
Fruit Soda
Fungi Extract (Natural)
Garlic, Extract (Natural)
Gin, Imitation
Ginger, Essence (Natural)
Ginger, Extract (Natural), Gingerine
Ginger, Imitation No. 1
Ginger, Imitation No. 2
Ginger, Imitation No. 3
Ginger, Imitation No. 4
Ginger, Imitation No. 5
Gingergrass (Palmarosa)
Girofl (Clove), Tincture
Glace Cake Mix
Gooseberry, Extract (Natural)
Gooseberry, Imitation No. 1
Gooseberry, Imitation No. 2
Gooseberry, Imitation No. 3
Gooseberry, Imitation No. 4
Gooseberry, Imitation No. 5
Gooseberry, Synthetic No. 1
Gooseberry, Synthetic No. 2
Gooseberry, Synthetic No. 3
Gooseberry, Synthetic No. 4
Grape, Extract (Natural) No. 1
Grape, Extract (Natural) No. 2
Grape, Imitation No. 1
Grape, Imitation No. 2
Grape, Synthetic No. 1
Grape, Synthetic No. 2
Grape, Synthetic No. 3
Grape, Synthetic No. 4
Grape, Synthetic No. 5
Grape, Synthetic No. 6
Grape, Synthetic No. 7
Grape, Synthetic No. 8
Grape, Synthetic No. 9
Grapefruit, Synthetic
Green Gage, Extract (Natural)
Green Gage, Imitation
Grenadine
Guava, Extract (Natural)
Ham, Baked Glaze
Hazelnut, Extract (Natural)
Herbal Cream (Celery or any Other Herb)
Honey, Imitation No. 1
Honey, Imitation No. 2
Honey, Imitation No. 3
Honey, Imitation No. 4
Honey, Imitation No. 5
Honey, Imitation No. 6
Honey, Imitation No. 7
Honey, Synthetic No. 1
Honey, Synthetic No. 2 (for Perfumes)
Honey, Synthetic No. 3 (for Perfumes)
Honey, Synthetic No. 4
Honey, Synthetic No. 5
Hop, Extract (Natural)
Hop, Imitation
Hop, Synthetic No. 1
Hop, Synthetic No. 2
Hop, Synthetic No. 3
Huckleberry, Synthetic No. 1
Huckleberry, Synthetic No. 2
Juices, General
Kernel (Nut), General
Ketchup (Catsup), Mushroom Flavor
Ketchup (Catsup), Spice
Ketchup (Catsup), Tomato Flavor
Kummel
Lavender, Flavor
Lemon, Extract (Natural)
Lemon, Imitation No. 1
Lemon, Imitation No. 2
Lemon, Imitation No. 3
Lemon, Imitation No. 4
Lemon, Imitation No. 5
Lemon, Imitation No. 6
Lemon, Imitation No. 7
Lemon, Imitation No. 8
Lemon, Imitation No. 9
Lemon, Imitation No. 10
Lemon, Imitation No. 11
Lemon, Imitation No. 12
Lemon, Imitation No. 13
Lemon, Imitation No. 14
Lemon, Imitation No. 15
Lemon, Imitation No. 16
Lemon, Powdered (Concentrate)
Lemon, Synthetic No. 1
Lemon, Synthetic No. 2
Lemon, Synthetic No. 3
Licorice, Root, Extract (Natural)
Lime, Extract (Natural)
Lime, Imitation
Lime, Synthetic No. 1
Lime, Synthetic No. 2
Lime, Synthetic No. 3
Lime, Synthetic No. 4
Lime, Synthetic No. 5
Malt, Extract (Natural)
Malt, Imitation No. 1
Malt, Imitation No. 2
Mandarin, Imitation No. 1
Mandarin, Imitation No. 2
Mandarin, Imitation No. 3
Mandarin, Imitation No. 4
Mandarin, Imitation No. 5
Mandarin, Imitation No. 6
Mandarin, Imitation No. 7
Mandarin, Imitation No. 8
Mandarin, Imitation No. 9
Mandarin, Synthetic No. 1
Mango, Extract (Natural)
Mango, Imitation
Maple
Maple, Flavormaple, Syrup
Maraschino, Imitation No. 1
Maraschino, Imitation No. 2
Maraschino, Imitation No. 3
Maraschino, Imitation No. 4
Marshmallow
Mayonnaise
Mayonnaise, Real
Mayonnaise, Spice
Meat, Flavor
Melon, Extract (Natural)
Melon, Imitation No. 1
Melon, Imitation No. 2
Melon, Imitation No. 3
Melon, Synthetic No. 1
Melon, Synthetic No. 2
Melon, Synthetic No. 3
Melon, Synthetic No. 4
Melon, Synthetic No. 5
Melon, Synthetic No. 6
Melon, Synthetic No. 7
Melon, Synthetic No. 8
Mentha, Cream
Milk, Caramel
Mint
Mirabelle
Mirabelle (Plum), Extract (Natural)
Mirabelle (Plum), Imitation
Mirabelle (Plum), Synthetic
Muguet, for Cream
Mulberry, Extract (Natural)
Mulberry, Imitation
Mulberry Synthetic No. 1
Mulberry, Synthetic No. 2
Mulberry, Synthetic No. 3
Mushroom, Imitation No. 1
Mushroom, Imitation No. 2
Nectarine
Noisettee
Nougatine
Nutmeg, Imitation No. 1
Nutmeg, Imitation No. 2
Nutmeg, Imitation No. 3
Nutmeg, Imitation No. 4
Nutmeg, Imitation No. 5
Nuts, Flavor for Pastry
Nuts, Kernels (General Method of Flavor Extraction)
Onion
Onion, Extract (Natural)
Onion, Imitation
Orange, Extract (Natural)
For Orange Bitter Type
For Sweet Orange Type
Orange, Imitation No. 1
Orange, Imitation No. 2
Orange, Imitation No. 3
Orange, Imitation No. 4
Orange, Imitation No. 5
Orange, Imitation No. 6
Orange, Imitation No. 7
Orange, Imitation No. 8
Orange, Imitation No. 9
Orange, Imitation No. 10
Orange, Imitation No. 11
Orange, Imitation No. 12
Orange, Imitation No. 13
Orange, Imitation No. 14
Orange, Synthetic No. 1
Orange, Synthetic No. 2
Orange, Synthetic No. 3
Orange, Synthetic No. 4
Oregano, Type
Peach, Extract (Natural)
Peach, Imitation No. 1
Peach, Imitation No. 2
Peach, Imitation No. 3
Peach, Imitation No. 4
Peach, Imitation No. 5
Peach, Imitation No. 6
Peach, Imitation No. 7
Peach, Imitation No. 8
Peach, Imitation No. 9
Peach, Imitation No. 10
Peach, Imitation No. 11
Peach, Imitation No. 12
Peach, Synthetic No. 1
Peach, Synthetic No. 2
Peach, Synthetic No. 3
Peach, Synthetic No. 4
Peach, Synthetic No. 5
Peach, Synthetic No. 6
Peach, Synthetic No. 7
Peach, Synthetic No. 8
Peach, Synthetic No. 9
Peach, Synthetic No. 10
Peach, Synthetic No. 11
Peach, Synthetic No. 12
Pear, Extract (Natural)
Pear, Imitation No. 1
Pear, Imitation No. 2
Pear, Imitation No. 3
Pear, Imitation No. 4
Pear, Imitation No. 5
Pear, Imitation No. 6
Pear, Imitation No. 7
Pear, Imitation No. 8
Pear, Imitation No. 9
Pear, Imitation No. 10
Pear, Synthetic No. 1
Pear, Synthetic No. 2
Pear, Synthetic No. 3
Pear, Synthetic No. 4
Pear, Synthetic No. 5
Pear, Synthetic No. 6
Pear, Synthetic No. 7
Pear, Synthetic No. 8
Pear, Synthetic No. 9
Pear, Synthetic No. 10
Pear, Synthetic No. 11
Pear, Synthetic No. 12
Pear, Synthetic No. 13
Pear, Synthetic No. 14
Pea, Sweet, Imitation No. 1
Pea, Sweet, Imitation No. 2
Pea, Sweet, Imitation No. 3
Pea, Sweet, Synthetic No. 1
Pea, Sweet, Synthetic No. 2
Peppermint, Imitation No. 1
Peppermint, Imitation No. 2
Peppermint, Imitation No. 3
Peppermint, Imitation No. 4
Peppermint, Imitation No. 5
Peppermint, Imitation No. 6
Persicot, (Peach Kernel Imitation)
Pickle Spice Salts
Pineapple (Ananas) Extract (Natural) No. 1
Pineapple Peels
Pineapple, (Ananas) Extract (Natural) No. 2
Pineapple (Ananas), Imitation No. 1
Pineapple (Ananas), Imitation No. 2
Pineapple (Ananas), Imitation No. 3
Pineapple (Ananas), Imitation No. 4
Pineapple (Ananas), Imitation No. 5
Pineapple (Ananas), Imitation No. 6
Pineapple (Ananas), Imitation No. 7
Pineapple (Ananas), Imitation No. 8
Pineapple (Ananas), Imitation No. 9
Pineapple (Ananas), Imitation No. 10
Pineapple (Ananas), Synthetic No. 1
Pineapple (Ananas), Synthetic No. 2
Pineapple (Ananas), Synthetic No. 3
Pineapple (Ananas), Synthetic No. 4
Pineapple (Ananas), Synthetic No. 5
Pineapple (Ananas), Synthetic No. 6
Pineapple (Ananas), Synthetic No. 7
Pineapple (Ananas), Synthetic No. 8
Pineapple (Ananas), Synthetic No. 9
Pineapple (Ananas), Synthetic No.10
Pineapple (Ananas), Synthetic No.11
Pistachio Nut, Extract (Natural)
Pistachio Nut, Imitation No. 1
Pistachio Nut, Imitation No. 2
Pistachio Nut, Imitation No. 3
Pistachio Nut, Imitation No. 4
Pistachio Nut, Imitation No. 5
Pistachio Nut, Imitation No. 6
Pistachio Nut, Imitation No. 7
Pistachio Nut, Imitation No. 8
Plum, Extract (Natural)
Plum, Imitation No. 1
Plum, Imitation No. 2
Plum, Imitation No. 3
Plum, Imitation No. 4
Plum, Imitation No. 5
Plum, Imitation No. 6
Plum, Synthetic No. 1
Plum, Synthetic No. 2
Plum, Synthetic No. 3
Plum, Synthetic No. 4
Plum, Synthetic No. 5
Plum, Synthetic No. 6
Pomegranate (Grenadine), Imitation No.1
Pomegranate (Grenadine), Imitation No. 2
Pomegranate (Grenadine), Imitation No. 3
Pomegranate (Grenadine), Imitation No. 4
Pomegranate (Grenadine), Imitation No. 5
Pomegranate (Grenadine), Imitation No. 6
Pomegranate (Grenadine), Imitation No. 7
Pomegranate (Grenadine), Imitation No. 8
Pomegranate (Grenadine), Synthetic
Potato, Flavor
Pound Cake, Flavor
Powdered Flavors
Praline Flavor (Crystals)
Prunelle, Extract (Natural)
Quince, Extract (Natural)
Quince, Imitation
Quince, Synthetic No. 1
Quince, Synthetic No. 2
Quince, Synthetic No. 3
Raisin, Synthetic
Raspberry, Extract (Natural) No. 1
Raspberry, Extract (Natural) No. 2
Raspberry, Extract (Natural) No. 3
Raspberry, Imitation No. 1
Raspberry, Imitation No. 2
Raspberry, Imitation No. 3
Raspberry, Imitation No. 4
Raspberry, Imitation No. 5
Raspberry, Imitation No. 6
Raspberry, Imitation No. 7
Raspberry, Imitation No. 8
Raspberry, Imitation No. 9
Raspberry, Imitation No. 10
Raspberry, Synthetic No. 1
Raspberry, Synthetic No. 2
Raspberry, Synthetic No. 3
Raspberry, Synthetic No. 4
Raspberry, Synthetic No. 5
Raspberry, Synthetic No. 6
Raspberry, Synthetic No. 7
Raspberry, Synthetic No. 8
Raspberry, Synthetic No. 9
Raspberry, Synthetic No. 10
Raspberry, Synthetic No. 11
Raspberry, Synthetic No. 12
Raspberry, Synthetic No. 13
Ratafia
Rhodium
Root Beer, Imitation
Rose, Flavor
Rose, Liquor
Rosemary, Chili
Rum, Ether Flavor
Rum, Imitation No. 1
Rum, Imitation No. 2
Rum, Imitation No. 3
Rum, Imitation No. 4
Rum, Imitation No. 5
Rum, Jamaica No. 1
Rum, Jamaica, No. 2
Rum, Oil
Rum, Synthetic No. 1
Rum, Synthetic No. 2
Rum, Synthetic No. 3
Saint John Bread (Carob), Tincture
Sarsaparilla, Imitation No. 1
Sarsaparilla, Imitation No. 2
Sassafras, Imitation No. 1
Sassafras, Imitation No. 2
Sassafras, Imitation No. 3
Sassafras, Imitation No. 4
Sassafras, Synthetic No. 1
Sassafras, Synthetic No. 2
Sauce Flavors
Sauce, Flavor Base
Sauce, Soy Flavor
Savory, Oil No. 1
Savory, Oil No. 2
Scotch, Smoke Type Taste
Smoke, Flavor
Smoke, Flavor for Fish (Seasoning)
Smoke, Flavor for Meat
Spearmint-wintergreen-peppermint No. 1
Spearmint-wintergreen-peppermint No. 2
Spice, Imitation No. 1
Spice, Imitation No. 2
Strawberry, Extract (Natural) No. 1
Strawberry, Extract (Natural) No. 2
Strawberry, Imitation No. 1
Strawberry, Imitation No. 2
Strawberry, Imitation No. 3
Strawberry, Imitation No. 4
Strawberry, Imitation No. 5
Strawberry, Imitation No. 6
Strawberry, Imitation No. 7
Strawberry, Imitation No. 8
Strawberry, Imitation No. 9
Strawberry, Imitation No. 10
Strawberry, Imitation No. 11
Strawberry, Synthetic No. 1
Strawberry, Synthetic No. 2
Strawberry, Synthetic No. 3
Strawberry, Synthetic No. 4
Strawberry, Synthetic No. 5
Strawberry, Synthetic No. 6
Strawberry, Synthetic No. 7
Strawberry, Synthetic No. 8
Strawberry, Synthetic No. 9
Strawberry, Synthetic No. 10 General Base
Strawberry, Synthetic No. 11
Strawberry, Synthetic No. 12
Strawberry, Synthetic No. 13
Syrup, Base for Flavor (Pancake)
Syrup, Simple, Base for Flavor
Tamarind, Extract (Natural)
Tangerine, Extract (Natural)
Tangerine, Imitation No. 1
Tangerine, Imitation No. 2
Tarragon
Tea, Imitation No. 1
Tea, Imitation No. 2
Tea, Natural No. 1
Tea, Natural No. 2
Tea, Natural No. 3
Tobacco Formulas for Improving Flavor and Odor
Species of Natural Tobacco
Tobacco, Chewing, Flavor No. 1
Tobacco, Chewing, Flavor No. 2
Tobacco, Cigarette, Flavor No. 1
Tobacco, Cigarette, Flavor No. 2
Tobacco, Cigarette, Flavor No. 3
Tobacco, Flavor General
Tobacco, Flavor No. 1
Tobacco, Flavor No. 2
Tobacco, Flavor No. 3
Tobacco Flavor No. 4
Tobacco, Flavor No. 5
Tobacco, Flavor No. 6
Tobacco, Flavor No. 7
Tobacco, Flavor No. 8
Tobacco, Flavor No. 9
Tutti Frutti
Valerian, Root, Extract (Natural)
Vanilla
Vanilla, Concentrated Flavor
Vanilla, Flavor No. 1
Vanilla, Flavor No. 2
Vanilla, Flavor No. 3
Vanilla, Imitation No. 1
Vanilla, Imitation No. 2
Vanilla, Beans, Extract (Natural) No. 1
Vanilla Beans, Extract (Natural) No. 2
Vanilla Beans, Imitation
Vanilla Beans, Tincture No. 1
Vanilla Beans, Tincture No. 2
Vanillin, Crystal (Partial)
Vanillin, Flavored Mixture
Vanillin No. 1
Vanillin No. 2 (Ester Mixture)
Vanillin, Super Odor
Vanillin, Water Soluble
Vermouth
Vermouth, Italian Type No. 1
Vermouth, Italian Type No. 2
Vinegar, Spiced
Violet, Flavor
Walnut, Extract (Natural)
Walnut, Flavor For Ketchup
Walnut, Imitation No. 1
Walnut, Imitation No. 2
Walnut, Imitation No. 3
Walnut, Imitation No. 4
Walnut, Imitation No. 5
Walnut, Imitation No. 6
Wintergreen
Wintergreen, Synthetic No. 1
Wintergreen, Synthetic No. 2
Wintergreen, Synthetic No. 3
Woodruff, Extract (Natural)
Woodruff, Imitation
Woodruff, Synthetic No. 1
Woodruff, Synthetic No. 2
Worcestershire Sauce No. 1
Worcestershire Sauce No. 2
^ Top
Classification of Odours and Odorants
When one is
dealing with hundreds and sometimes thousands of
raw materials of widely differing characteristic odours odour
intensities and
chemical and physical properties it is essential to have some means of
classifying
them of dividing them into groups and sub groups in order to facilitate
selection comparison arrangement blending and even discussion of their
special
features and functions. As McCartney has observed in his scholarly work
on
olfaction and odours the difficulties of classification are
particularly well
known to perfumers of course and they may often invent systems of their
own for
private use.
Such private
systems (and there is rarely anything secret or
mysterious about them) are usually based on information gained
empirically added
to data culled from the existing literature and other professional
sources. In
devising his own simplified classification of odours in 1798 Fourcroy
had the
good sense to point out that this division this classification is
arbitrary uncertain
and fragile since our sensory impressions and above all those of
olfactory
origin are not fixed permanent or equal in all men at the one time or
in one
individual at all times . Even so a perfumer s classification based on
a
perfumer s expertise and experience is almost certain to be of greater
significance and practical utility to himself and to other perfumers
than would
be for example any of the non perfumery classifications based more or
less
strictly on botanical chemical or psychological considerations.
Published works
on perfumery usually make reference to the
odour classifications of Rimmel Piesse Zwaardemaker Heyninx Henning von
Skramlik Matteotti and Crocker and Henderson. The last named co workers
announced in 1927 their semi quantitative evaluation of odours making
possible
the accurate description of any odour by the simple device of a
fourdigit number.
Crocker and Henderson s digits represent fragrant (or sweet) acid
(sour) burnt
(empyreumatic) and caprylic a truly remarkable simplification. They
consider
that these four elementary odours arc the principal and perhaps the
only units
which make up all the odours we perceive. The maximum intensity of each
of
these elementary odours is arbitrarily allocated the number 8 so that
Tonquin
musk whose code number is given as 8476 is top rated as 8 for fragrance
with a
moderate 4 for acidity 7 for burntness and 6 for its supposed caprylic
tonality.
Similarly rose is coded as 6423 but what is a rose odour? A rose is a
rose is a
rose is a rose to Gertrude Stein and presumably also to Crocker and
Henderson but
to the perfumer the rose odour is a most variable quantity. As
perfumers we
find it difficult to acknowledge the significance of 6423. The Crocker
and
Henderson system and the approach that it represents have attracted a
good deal
of attention and support though not chiefly one assumes among
practising
perfumers.
Of much greater
interest to the latter are some of the
classifications both of complex odours and individual odorants made by
perfumers. These are necessarily subjective but cannot be lightly
dismissed because
of this as unsatisfactory. They not only fill an immediate need but are
often
extremely reliable. We ourselves have for example made a comparative
study with
six other perfumers all working separately of a whole series of
odorants
assessing characteristics and analogies at three stages of evaporation.
The
level of agreement was very high. When making such tests much depends
of course
upon professional training and objectivity.
A clear
distinction must here be made between attempts to
classify odours e.g. as floral woody balsamic and so on and attempts to
classify the actual odorants or constituents of complex odours as for
example
into top note middle note and base note constituents. Both systems are
useful.
It is probably more convenient to look first at some current
classifications of
odorants. Of these the most comprehensive and ambitious is Poucher s
classification based on a subjective assessment of the relative
duration of
evaporation of some 330 perfumery chemicals essential oils and other
odorous
materials. Obviously this published list could be very considerably
extended as
W.A. Poucher has himself suggested. The main criterion of this type of
classification is relative volatility which may be regarded as the
vapour
pressure at ordinary temperatures but in practice owing to the complex
character of essential oils and flower absolutes etc. it is vastly more
satisfactory to use a subjective method of comparing odorants. This
Poucher
accomplished by examining each material or an appropriately
standardised
dilution by means of smelling slips. When carrying out his tests he had
to
decide on what should be the end point of each odour . . . The
characteristic
note of some natural products may be fleeting while the residual smell
lingers
on. But since each aromatic substance is employed primarily for its
typical
odour note I decided to check and re check the point at which this
distinguishing feature disappeared. Moreover I had to place a time
limit on
these substances of longest duration such as patchouli and oakmoss and
I gave
them the figure or coefficient of 100 . . . To those that evaporated in
less
than one day I gave the coefficient I and to the others 2 to 100. Thus
eventually
the Poucher classification as published comprised over 300 items each
of which
was distinguished by a coefficient ranging from 1 (e.g. amyl acetate)
to 100
(e.g. ambergris extract vanillin and vetivert).
The basic notes
begin with amyl phenylacetate and natural
cinnamic alcohol proceeding through such items as methyl naphthyl
ketone civet
absolute hydroxycitronellal and cyclamen aldehyde to a long list of
resins balsams
and crystalline materials (coumarin vanillin artificial musks)
aldehydes (amyl
cinnamic methyl nonyl acetic phenyl acetic) all rated at 100 together
with
ambergris castoreum patchouli pepper sandalwood and vetivert.
These
subdivisions are useful and enhance the value of the
list as a source of general reference. They do not however supply a
ready
answer to the questions  What
is a top
note? What is a fixative? As Poucher himself has hastened to observe
there are
occasions when longer lasting odorants are used in such a quantity as
to raise
them temporarily into a higher category. He in fact illustrates this
point by
giving two simplified but characteristic formulae for a Lilac and a
Hyacinth
perfume respectively. Among other features the former contains 1 per
cent of a
10 per cent dilution of phenylacetic aldehyde while the latter contains
10 per
cent of the pure undiluted aldehyde. There is no doubt that this
aldehyde acts
as a top note despite its persistent character when it is utilised in a
dominant proportion.
When we compare
the results arrived at subjectively by
different authors we are apt to find a number of discrepancies
indicative of
differences in opinion but in general there is a broad area of
agreement. This
will be seen from Tables 1 and 2 taken respectively from the published
work of
Ellmer and Carles.
Ellmer s
classification appears to have been the first of its
kind to be published. His results match fairly closely those
subsequently
obtained by other perfumers although few will agree with his remarkably
high
persistence values for rosemary oil and cuminic aldehyde nor does he
appear to
have given sufficient attention to the basic notes as a class. Jean
Carles on
the other hand seems to have over emphasised the importance of the
basic notes when
he writes that they will serve to determine the chief characteristic of
the perfume
(for) their scent will last hours on end and will be essentially
responsible
for the success of the perfume if any. It must be remembered however
that
Carles was attempting for the benefit of his students to simplify a
rather
complicated subject and in this respect was justifiably endeavouring to
correct
the error  all too
common among beginners
in the art of perfumery  of
paying
attention almost solely to the top notes or notes de depárt.
In the same
way he deliberately over simplified the structure of a perfume by
considering
it almost as a definite neatly defined architectural entity instead of
a
dynamic changing imbricated composition not merely existing in space
but
simultaneously evolving and fluctuating in time.
The importance
of the basic note or accord or group of
accords cannot of course be denied. Carles gives some extremely useful
information on this point. Even so one must admit that there are few
good
perfumes and certainly no characteristically modern ones that depend
chiefly
for their appeal and individuality upon those constituents which have a
low
volatility and high tenacity. The three fundamental parts of a perfume
are as
Paul Jeancard suggested the head the body and the base but the relative
size
and strength and general assembly and behaviour of these essential
parts
depends upon a number of interrelated factors. Possibly the aptest name
ever to
have been given a perfume is Arpege because an arpeggio effect in which
the
notes of a chord are played successively instead of simultaneously is
so
admirably descriptive of perfume behaviour.
Some perfumers
speak of homogeneous and oscillating odours.
Thus a world famous floral bouquet perfume oscillates between a
homogeneous
accord consisting of a fresh jasmin note sustained by an aldehyde and
bergamot
oil etc. on the one side and on the other a warmer lower chord composed
of
ylang ylang blending into a residual note of vanilla and incense.
The type of
classification of odorants shown in Tables 1 and
2 is a most useful guide and discipline but the fact must not be
overlooked when
resorting to such classifications that the behaviour of some of the
materials
involved is more complex than its mere position in a relative
volatility table
might indicate. This brings us back to reconsider what exactly we mean
when we
talk about top notes. Firstly there are the very volatile true top
notes such
as may be found at the beginning of Poucher s and similar tables for
example ethyl
and amyl acetates ethyl aceto acetate methyl amyl ketone phenylethyl
acetate linalool
and the citrus terpenes. There are also many relatively non volatile
odorants which
in addition to their long lasting character have also pronounced top
note
effects. In this group may be cited as common examples musk ambrette
(as
distinct from the ketone or xylol) the macrocyclic musks ethyl vanillin
methyl
nonyl acetaldehyde gamma undecalactone and Fixateur 404. It will be
seen that
all these have penetrating odours and it is perhaps this penetrating or
piercing quality (as Henri Robert has termed it) rather than mere
pungency
which also gives the Middle Note odorant indole the emergent force and
character of a top note.
Though complex
essential oils are also capable of being
assessed on the basis of relative volatility and must therefore be
included in
such comparative tables.
The practical
value of a chart showing odorants grouped
according to their relative volatilities is that it can serve as a
guide to
formulation and as a fertile source of suggestion. Thus as Poucher
observes a
perfumer beginning work on a Lilac perfume can quite simply extract
from the
complete chart a number of odorants (in this case as few as nine) which
will
give him the foundation of his perfume. These he will subdivide into
the three
main categories. Thus he quickly arrives at a Top note section
comprising
benzyl acetate terpineol and phenylethyl alcohol a Middle note section
consisting of heliotropin and anisic aldehyde and a Basic section
containing
cinnamic alcohol hydroxycitronellal isoeugenol and phenylacetic
aldehyde. He
will then proceed in the usual way comparing his perfume from time to
time with
the natural flowers that he is trying to imitate or with some other
lilac
perfume that he aims at copying. At this stage he will doubtless think
of other
odorants in order to improve the natural character of his experimental
blend to
shade the odour into Pink Lilac or some other specific type or to
convert the
floral base into a more sophisticated blend rather than a simple floral
composition. And in many instances reference to the chart can provide
useful
stimuli even for example (and here Carles emphasises the same
technique) by
offering information enabling new accords to be elaborated.
Henri Robert
chief perfumer and technical manager of the
Chanel Bourjois and Barbara Gould organisation has published an
extremely
interesting classification of odours which combines the grouping of
odours as
such (e.g. Lilac Muguet the Cinnamic Group Spicy Odours and Rosy
Odours) with
the arrangement of the respective odorants or groups of odorants in
declining
order of volatility starting off with Sharp Fruity and Lifting groups
and
ending up with Vanilla Ambergris and Animal odours. He adds I have long
employed a classification of my own based like those of Cerbelaud and
Billot on
odour affinities. The eighteen groups themselves follow an order that I
have
tried (not very successfully perhaps) to render logical and which
observes in
principle the idea of volatility declining from top notes to base
notes.
The enthusiasm
shown by Poucher Carles and many other
perfumers is shared by Henri Robert who adds each may have his own
classification but I believe it indispensable to use one of them if it
is
desired to work quickly properly and lucidly. Nothing should be
neglected that
can liberate us from useless labour and leave us more time for that
meditation
during which the creation of a perfume is really accomplished.
Flower Perfumes
Not so long ago
it was fashionable in some circles to decry
flower perfumes. Why it was asked should a woman want to smell of
flowers? The
exclusion of flower perfumes from perfumery has been taking place over
a long
period . The flower perfume is dead . His subsequent observations
however tended
to modify this initial impression because he went on to praise some
forgotten
garden scents gave suggestions for their formulation and recommended
their
potential use as background odours in more sophisticated fantasy
perfumes.
Despite any
extravagant statements to the contrary flowers
and their perfumes are still of very considerable and even basic
importance to
the perfumer. In the first place they are a stimulus a point of
reference and a
source of pleasure and invaluable information. In the second some of
them are
still irreplaceable raw materials despite any disadvantage that may
attach to
them in respect of scarcity or cost. And in the third place many flower
notes
or floral accords form part of the essential structure of even the most
advanced and up to date fantasy perfumes. The fashionable woman may not
wish to
smell like a flower but neither is she improved by smelling like a
crude
mixture of synthetic chemicals or like a civet cat a musk deer or a
dish of
overripe peaches. The finished perfume is after all a balanced blend of
rather
widely different odorants and in it the floral note still plays a vital
and
even a dominant part.
We shall be
giving in this chapter for
each flower mentioned a list of Constituents used in its reproduction
including
some that may be thought of as tricks of the trade although the main
object
will always be to approach the true note of each flower. Secondly we
shall give
one two or more complete formulae by way of illustration. Here it is
necessary
to point out that such formulae can only be considered as the sum of
the actual
materials used in preparing them in the first place and that subsequent
reproduction must involve olfactory adjustments in order to give the
desired
result.
We shall start
with the more
familiar perfumes based on flower notes.
ROSE
Rose notes vary
considerably one from
another. In addition to the basic components mentioned below under Red
Rose Damascene
Rose and Centifolia Rose we find some important auxiliary notes in the
naturally occurring esters as well as in a few aldehydes and acetals.
Many
other odorants also enter in relatively small amounts but with
significant
effect into the composition of specialised rose notes e.g. those of the
tea
rose.
Red Rose. This is
usually considered to be the truest and finest type of rose odour. Its
main
constituents are rhodinol phenylethyl alcohol alpha ionone and the very
useful
nerol. A more flowery effect is obtained by the addition of rose
absolute and
Bulgarian otto. Bulgarian geranium oil can when obtainable impart a
much
appreciated green note.
Rose damascena. Among
natural essential oils this is represented by Bulgarian rose. The basis
of this
odour is given by rhodinol phenylethyl alcohol geraniol ex palmarosa
oil and
cinnamic alcohol always in association with certain natural essential
oils and
esters.
Rose centifolia. The main
constituents here are citronellol geraniol phenylethyl alcohol and
rhodinol together
with smaller amounts of adjuncts which give it a slightly sharp note
such as C9Â aldehyde
citral etc.
Tea Rose. The basic
components are citronellol phenylethyl alcohol and geraniol. The
accessories
that impart its special character include guaiyl acetate menthone and
tuberose
absolute.
Rose Maréchal
Niel. In nature
this is a yellow rose with a very special perfume. Basically one uses
geraniol
ex palmarosa oil citronellol and synthetic geraniol in association with
isoeugenol benzoin and sandalwood oil etc.
White Rose. Here the
base is rhodinol phenyl ethyl alcohol benzyl alcohol and linalool (to
give it
the slightly acidulated note by which it is identified). The blend is
rounded
off with a little bergamot phenylethyl acetate etc.
In all matters
relating to rose perfumes one has to take into
consideration the part played by Bulgarian Rose. This note is often
required
but unfortunately the widespread use of Bulgarian oil of rose in its
pure state
is limited by considerations of cost. This necessitates research into
compositions i.e. diluents or extenders and these must be the best
possible for
the purpose. By using certain raw materials judiciously one can in fact
arrive at
some very interesting extenders which will blend well with the natural
oil giving
an excellent quality of end product at a reasonable price. The raw
materials in
question are relatively few in number. One thinks of phenylethyl
alcohol oil of
geranium such as the Geranium incolore de Grasse geraniol rhodinol I
citronellol and very small quantities of nerol and farnesol.
A formula is
given below. This is a convenient point to
emphasise that no formula can be better than the type and quality of
its
individual constituents. It is therefore essential for perfumers to
make their
own trials and adjust their final formulae accordingly.
Some readers may
be surprised to note the recurrence in
certain of these formulae of branded specialities usually made by some
of the
leading supply houses. We make no apologies for these inclusions
because they
are in fact justified. Some are used because they contain new synthetic
bodies
that are not obtainable on the market in the pure state while others
are the
result of the highly skilled blending of standard ingredients that it
would be
extremely difficult and time consuming to copy.
Â
Where
specialities are cited under the names of specific
firms this simply means that no one firm makes and offers exactly the
same end
product as the others. In each case one must take into account the fact
that
chemicals included in a process as trace impurities are not likely to
be
present in exactly the same pattern or proportions in a competitive
product.
Examples of
special shades of odour even among standard
chemicals are provided for example by Givaudan s Laurine which is a
hydroxycitronellal with a note of its own  often
in great demand  and
Lorena of Firmenich which though a nerol is
yet distinguishable from other nerols.
A footnote to
rose compounding modern perfumery now also
makes use with restraint of rose oxide.
JASMIN
Rose and jasmin
are still the most important flower notes
used in perfumery. Singly or together they provide a conventional
floral
background for a great diversity of perfumes. Oil of jasmin has been
the
subject of much analytical research and on this basis it is possible to
devise
a wide range of formulae for jasmin artificial . Among the basic
components one
may note benzyl acetate amyl and hexyl cinnamic aldehydes benzyl
alcohol formate
salicylate and other esters indole and derivatives phenylethyl alcohol
dimethyl
benzyl carbinyl acetate hydroxycitronellal linalool linalyl acetate
esters of
propionic and butyric acids Peru balsam etc. To sweeten formulae for
artificial
asmins that may be somewhat crude and synthetic use can be made of
jasmin
absolute châssis which is the absolute obtained by
petroleum ether or
benzene extraction from jasmin flowers that have previously been
treated by the
enfleurage process but which have nevertheless retained some of their
perfume.
This must not be confused with the actual absolute of jasmin d
enfleurage.
It is a
principle in fine perfumery that natural materials
should be used to sweeten and soften the odours of synthetic blends.
When costing
considerations prevent the more liberal use of naturals the result of
judiciously incorporating even small quantities will usually prove
conclusive.
ORANGEFLOWER
AND NEROLI
Perfumers will
be well aware of the differences that exist
between these two closely related odours. Both are frequently used and
it could
even be said that there are relatively few compositions into which the
orangeflower note does not enter. Neroli is particularly valuable in
eau de
Cologne and related notes. Here are some examples.
This is a useful
type of formula for blending with natural
neroli in certain applications as a diluent. A suggested proportion is
1 part
of natural neroli oil to 2 parts of Neroli A.
In flower
perfumes closely associated with the orangeblossom
note e.g. honeysuckle syringa (Philadelphus coronarius) gardenia and
narcissus the
fruity note of Apricot is often present and should always be borne in
mind.
VIOLET
The classic note
of violet was adored by ladies at the turn
of the century. Two species of the flower should be distinguished. The
simple
Violet (Nice or Toulouse) may be based on a blend of methyl ionone
alpha ionone
orris absolute or resinoid violet leaf absolute and phenylethyl
alcohol. A
floral note projected as it were by a trace of MNA aldehyde is imparted
by
jasmin or cassie. The double or Parma violet is based on varying
proportions of
beta ionone alpha ionone and methyl ionone together with orris resinoid
or
concrete a little phenylethyl alcohol methyl octin carbonate a trace of
vetiver
and a small quantity of hydroxycitronellal and even sometimes bergamot.
Very
small amounts of violet leaf absolute may be included but the green
leafy note
of Parma violets is much less accentuated. For imparting the necessary
sweetness to the base of Parma violet use may be made of a plum or
mirabelle
note.
It is difficult
to give a violet perfume the thrust required
by modern perfumes. An interesting result has been obtained however
with a very
fresh lily of the valley composition used in just sufficient quantity
to impart
an exuberant freshness but not enough to impair the basic violet note.
Perfumes for Men
Eau de Cologne
Still in fashion
after two and a half centuries eau de
Cologne has rightly been described as the most famous of perfumes. Like
other
accepted works of art it emerged from a background of similar
predecessors of
which we need only name eau de Cordova and eau de ia Reine de Hongrie.
All
these early experiments however as well as such modifications as eau
des
Templiers eau d ange and eau Royale de Louis XVIII have long since
faded from
the scene and are now of merely historical interest.
Halfway through
the seventeenth century an Italian barber Gian
Paolo Feminis left his native Val Vigezzo to settle in Cologne.
Merchant and
perfumer as well as hairdresser he created a toilet water which he
called Acqua
Della Regina or Eau Admirable. Its first success appears to have been
associated more closely with the medicinal and therapeutic claims made
for it
than with its odour. In due course Feminis grandson Giovanni (Johann or
Jean)
Maria Farina founded the firm of that name and re styled the toilet
water
Kölnisch Wasser or eau de Cologne. It is worth noting that some French
and
English perfumery texts of the early nineteenth century make no mention
of eau
de Cologne but the fame of the latter became more widespread and
intense when
the house of Roger & Gallet came into the picture. This they
did by
acquiring in 1862 from the perfumer Colas the sole interest that he had
thirty
years previously purchased from the Farinas. To day the two firms
entitled to
use the name of Jean Maria Farina are Jean Maria Farina Gegenuber dem
Julichs
Platz and Roger & Gallet.
In June 1960 an
international celebration of the birth of eau
de Cologne was held at Santa Maria Maggiore in the Val Vigezzo and a
plaque
unveiled to commemorate the names of Feminis and Farina. Nor must one
overlook of
course the creation of the 4711 brand associated with the name of
Muhlens.
Another noteworthy Cologne is that introduced by Atkinson in the U.K.
Italy and
elsewhere.
Napoleon s
perfumer Hadancourt supplied the Emperor with eau
de Cologne in regular quantities of twelve Winchesters each of two
litres capacity
for Napoleon throughout his campaigns regularly freshened up with
Cologne. At
this period the vinaigres (toilet vinegars) were also much in vogue.
This was allowed
to stand and mature for at least 30 days
prior to filtration. The true J.M. Farina formula of this period was
almost
certainly subjected to at least partial distillation.
Durvelle also
gave a formula for a so called J.M. Farina
Cologne. The following materials are macerated in 25 litres of 95º
alcohol and
4 litres of water for 12 hours fresh melissa herb 10 kg rosemary 5 kg
finely
reduced orris root 1 kg. Distillation is then effected and the extract
So
obtained blended with 310 grams of bergamot oil 250 grams each of lemon
and
sweet orange oils 60 grams each of neroli and petitgrain oils 120 grams
of
lavender oil and 25 additional litres of 95° alcohol. The batch is left
for one
month and then filtered.
Francesco La
Face the world s leading authority on Italian
citrus oils has discussed most of the raw materials utilised in classic
Colognes. First and foremost are the citrus oils or Hesperidaceae
bergamot lemon
and sweet orange followed by orangeflower neroli and petitgrain derived
from
the bitter orange tree. Next come the herbal oils lavender rosemary
melissa
(balm) and clary sage. Many other ingredients said to be used in the
original formula
are given in a paper by Fenaroli. They include traces of thyme wormwood
calamus
nutmeg hyssop caraway aniseed cinnamon and clove. Here we would point
out that
the clove or carnation note should be regarded as important and even
indispensable in a Cologne base.
Even if one had
current access to the types of material
actually used in the original classic Colognes one could not use them
in the
same way i.e. by maceration infusion and distillation with alcohol
followed by
the addition of essential oils and floral waters and a period of
maturation.
Many efforts have been made to translate what is known of the older
classic
formulae into modern practice. From these we select the following
Though clary
sage is well known for its ability to blend with
enhance and sustain the somewhat ambered fruity note of Colognes
containing it there
are few published formulae for old style Colognes that do in fact
mention clary
sage as an ingredient. Natural unaoulterated oils of cedrat Melissa
verbena and
limette are nowadays difficult if not impossible to obtain. Mere traces
of
other oils were often included in order to impart a distinctive cachet.
Among
them were rose oils peppermint oil and in addition to those spicy and
herbaceous oils already mentioned by Fenaroli angelica thyme cardamom
fennel cumin
and juniper.
In current
perfumery usage one finds personal preferences
among perfumers for minor additions of clove nutmeg or caraway. Thyme
hyssop esteagon
and myrtle have their adherents.
Variations among
the major citrus constituents may include
the introduction of mandarin grapefruit and lime oils. Citral verbena
notes
emphasise the essential freshness of the compound. Petitgrain is of
course
invaluable. Linalool linalyl acetate and ethyl linalyl acetate tend
like oil of
lavender to add depth and richness but they should not be used to
excess.
Nerolidol may help to round off the blend. Rose notes in particular are
popular
in the U.K. as modifiers of the Cologne complex. Accentuation of the
rose or
rosegeranium motif does not affect the initial odour or effect so much
as it
does the residual odour on the skin. Even a first class product of this
type
(and there is at least one very attractive blend) leaves behind on the
skin an
odour that is frankly and persistently rosaceous.
Classic eau de
Cologne is a fresh and harmonious blend of
predominantly citrus oils. Its fragrance is exciting refreshing
altogether
delightful and of short duration. That is its nature it cannot be
changed
without losing this unique combination of qualities. If we try to
prolong its
brief existence by modifying the formula which is a comparatively
simple one or
adding socalled fixatives we merely succeed in altering its character
it is no
longer a classic eau de Cologne. It can be made more sophisticated but
only at
the expense of its exhilarating freshness. Flowery notes can be blended
with it
and the results are sometimes extremely attractive but whatever their
merits they
are not of course true eaux de Cologne.
Varying the
Cologne note can nevertheless prove to be an
educational and rewarding task. There are two main approaches. One is
to
preserve the Cologne character while introducing a certain amount of
novelty
and variety. The second is to use the Cologne note as part of a
distinct and
different blend so that while the effect of the note is still felt its
individuality is merged and subordinated in the main design.
Green
hyacinthine top notes will sometimes blend effectively
into Cologne compositions. Ethyl acetate (about 0.2 0.4 per cent) tends
to lift
the top note. Methyl nonyl acetaldehyde may be present at about 1 per
cent of a
10 per cent solution or at rather higher levels in modern ambered or
sophisticated Colognes. Decyl aldehyde is also useful. At the other end
of the
scale one considers duration of odour and fixation . As we have seen a
really
wellfixed long lasting Cologne would not be a Cologne at all. Where
ambergris
tincture or artificial ambers etc. are present in small quantities they
serve
in this instance more as blending and homogenising agents than as
fixatives.
Traces of decoiorised oakmoss can give some interesting effects.
Some years ago
Wells carried out a series of tests on eau de
Cologne constituents using the live human skin as the testing ground
instead of
the more conventional smelling slips. As when tested on the latter the
odours
of most of the hesperidean oils proved to be short lived. Added citral
imparts
improved persistence and Grasse verbena oil enhances freshness. Sweet
and
bitter orange oils each behave differently as one would expect but both
are
good and they can usefully be employed in admixture. Lime oil is
forceful and
too characteristic at first but soon fades. Clary sage lasts well so
also does
rosemary. Coriander is an extremely good skin perfume but high
proportions
spoil the effect of a Cologne smelt on a slip or a handkerchief. Of the
shading
notes we liked the odour on the skin of estragon thyme hyssop nutmeg
and
caraway. There is only one of the nitro musks that remains sweet and
stable on
the skin that is musk ambrette. Of the lower notes labdanum Peru balsam
and
benzoin are of interest.
It will be
appreciated that a toilet water must first of all
be attractive in the bottIe and in its first evaporative phase outside
the
bottle. It is not judged primarily by its odour on the skin but this
latter is
nevertheless an important factor epecially in a type of perfume that is
often
liberally applied to the skin surface. A careful comparison of the
world s
leading eaux de Colognes from the skin behaviour point of view is also
enlightening. One that is distinguished by its characteristic sparkling
odour
in the bottle and on the handkerchief also has the maximum freshness
and
cleanest top note on the skin.
Many of the
early Cologne formulae or traditional botanical
mixes of citrus spice and herb oils were very similar to the
Benedictine and
related types of liqueur especially if one substituted sugar for
tincture of
benzoin. The dual purpose of the benzoin was to act as a fixative and
ensure an
opalescent effect when the Cologne was poured into water.
TOILET
WATERS
Toilet waters
consist of perfume oil alcohol water and
occasionally glycerin. Opinions vary on the subject of glycerin
according to
E.G. Thomssen it possesses some solvent power for the perfume
concentrate but
is more often used to retard volatilization of the perfume . . . when
applied
to the skin. The co solvent action of a few per cent of glycerin would
seem to
be negligible even in a perfume of low alcohol content and although
Veronica
Conley and others have repeated the view that glycerin may retard the
evaporation of perfume from the skin we consider this possibility to be
very
doubtful and have said that in some cases giycerin appears to
accelerate
perfume evaporation from the skin rather than retard it. The presence
of water however
generally increases the persistence of odours on the skin.
At the time of
writing there is no world wide agreement on
either the perfume strength or the alcoholic strength of Toilet Waters
(eaux de
toilette) Eaux de Cologne Parfums de Toilette Eaux de Parfum Skin
Perfume Cream
Perfume or other fancifully named products which are all essentially
dilute
versions of the conventional alcoholic perfume. There is not even any
general
agreement among manufacturers on the relative strengths of these
different
dilutions. Many of them contain from about 3 to 8 per cent of perfume
and are
prepared at alcoholic strengths of 75 to 90 vols percent as compared
with
perfumes at strengths ranging from 12 to 22 per cent of concentrate
incorporated
in 95° alcohol. Many Colognes and toilet waters are however available
on the
market at much lower alcoholic strengths with 50° regarded in at least
one
country as a permissible minimum. In the production of low alcoholic
Colognes etc.
solubility problems naturally arise and must be dealt with by careful
selection
of deterpenated oils relatively soluble synethetics etc. appropriate
testing chilling
filtration and even in extreme cases by using solubilizing agents and
co
solvents to give stable clear pseudosolutions in very dilute alcohol or
even in
water.
While on the
subject of ethyl alcohol which is of course the
preferred choice in perfumery as a solvent diluent and vehicle one
should note
that both synthetic and fermentation grades are available. Permitted
denaturants and other excise regulations vary from country to country.
Methods
of assessing and describing the relative strengths of alcohol also
vary. An
Alcohol Directive has been drafted by the E.E.C. and subjected to
proposed
amendments. Isopropyl alcohol has been used at various periods as a
partial
substitute for ethyl alcohol as a perfume vehicle but it lacks the
vinous
quality and other attractive properties of the latter. Some years ago a
well
known petroleum firm produced on the experimental scale an odourless
hydrocarbon product of suitable volatility intended as a perfume
solvent. It
had been designed to replace alcohol in gelatin encapsulated perfumes
but might
equally have proved useful for other special applications e.g. as a
permissible
alternative to alcohol in strictly Mohammedan markets. It was never
developed
commercially however owing to its limited sales potential.
Alcohol remains
the ideal perfume solvent with its extremely
mild smooth odour which blends so well with perfumery materials. With a
boiling
point of 78° C it is not too volatile it permits a satisfactory
evaporation of
the perfume and at the same time conserves the fixative elements which
ensure
the tenacity that is generally expected of a good perfume.
Perfumes for Many Purposes
THE
USES OF PERFUMES
 We
live in a world of
odour just as we live in a world of light and sound observed scientists
towards
the end of last century. Had the noted physiologist and student of
olfaction
been alive today he would doubtless be astonished at the way in which
the
odorous character of urban life throughout the world has been extended
and
intensified. In the big Cities we are never far removed from the
manifold
activities of the perfumery industry. To compile a complete list of
perfume
applications is virtually impossible because new appiications are being
discovered almost daily. The following list though far from complete
will at
least serve to indicate something of the range of perfumery uses in a
modern
industrialised society.
While the
unspoken aim of every ambitious perfumer must
surely be to create a true perfume by which one means an alcoholic
extract that
will attain a satisfactory measure of international celebrity it must
be
admitted that few perfumers ever realise this aspiration. Yet many
become well
known to their contemporaries as the creators of this or that soap
perfume
(e.g. of French Fern or Imperial Leather or Cashmere Bouquet). Still
others
devote most of their creative activities to the preparation of
attractive stable
and otherwise satisfactory perfume compositions for use in the various
toiletries industrial products etc. listed above. The problems which
they
encounter in this work are many and some of them are considered
individually in
the remaining pages of this chapter.
PERFUMES
FOR SOAPS
Perfumes of
outstanding performance in soap are the exception
rather than the rule observes Pickthall adding as a corollary that many
perfumes which give exce1lent results in a variety of other
preparations will
be failures in soap. It will probably be conceded by most perfumers and
soap
makers that their most successful perfumes have been the result of
considerable
trial and error. Years of experience will have shown which individual
ingredients give strong and lasting effects in soap but in certain
combinations
or blends even these otherwise successful items will fail to produce
the
anticipated effects.
Four attitudes
to soap perfuming should be taken into account
in order to ensure the production with the minimum waste of time and
effort of
a successful soap perfume. They are (1) psychological and aesthetic (2)
economic (3) technical and (4) chemical. The fourth term is loosely
used in
this context to cover physical chemical and biochemical as well as
straightforward chemical reactions.
The governing
factors are or should be those of a
psychological aesthetic and artistic character. While it is most
desirable that
the soap perfumer should have a sound scientific knowledge of the
probable
behaviour of aldehydes ketones esters and so on when they are
incorporated in a
soap base it is even more essential that he shall be an artist in
perfumery able
to understand anticipate and satisfy changing fashions in the public
taste for
perfumes. In addition to this he ought to be capable of selecting and
using his
raw materials to the best economic advantage. The techniques that he
employs in
his work are likewise extremely important for they should be adopted
and
modified in such a way as to save him the maximum amount of time and
trouble both
during the creation and compounding of the perfume and its subsequent
shelf
testing in soap.
On this matter
of technique one method has been described in
some detail  I carry
out initial small
scale experiments in compounding by utilising a 10 ml pipette with each
ml
divided into tenths this affording a convenient means for making the
compound
on a percentage basis. All liquids are thus measured by volume while
all solid
materials are weighed out in the usual manner. When at work I normally
start
with 5 pipettes steeping in alcohol and another 5 standing in a
draining rack.
Also useful are 1 ml pipettes graduated in 1 100ths together with a 10
ml
cylinder similarly graduated in l 100ths and a 50 ml cylinder. If a
graduated
cylinder is used the larger volumes of liquid can be poured directly
into it followed
by the smaller quantities duly pipetted. This method of volumetric
compounding
is more economical rapid and generally convenient than the use of a
balance though
it has of course its disadvantages. There is always a probability of
introducing errors unless specific gravities are duly taken into
account when
translating volumetric into mass measurements for example when working
by
volume one could be using 1 ml of a product with a specific gravity of
0.85 thereby
using only 0.85 grams or 1 ml of a substance with an s.g. of 1.2
thereby using
1.2 g. A further margin of error may be introduced when pouring or
pipetting
viscous liquids. This can be minimised by using 50 50 or weaker
dilutions of
such materials or eutectk mixtures (such as equal parts of cinnamic
alcohol and
methyl cinnamate). The dilutions to maintain the odour intensity may be
made in
other active constituents of the formula rather than with alcohol
diethyl
phtbalate or similar solvents. The problem of contamination is best
dealt with
by using a fresh pipette for each raw material and by keeping current
stocks of
the latter to a minimum i.e. in bottles ranging from about 15 ml to 100
ml
capacity. It is most desirable to avoid the use of small bottles that
have a
neck orifice too narrow for the easy introduction of the pipette.
Steeping
alcohol should be changed frequently.
The soap
perfumer is never allowed to forget that the perfume
soap system presents certain unique and sometimes unpredictable
behavioural
phenomena. For that reason he is obliged to test his perfume in a
standard soap
base and not merely on smelling strips at all stages of its
development. He
tests his raw materials in this way often at the level of 1 per cent in
soap and
may similarly test partial blends in soap before finally completing his
perfume
and testing that. The small perfumed soap tablets may be examined
immediately stored
wrapped or unwrapped and then re examined or subjected to acceleration
tests
with U.V. light etc. In this way it is possible to assess odour and
colour
effects and record them over a prolonged period filing the information
so
obtained for future reference.
Many lists and
other compilations of data relating to
individual perfumery materials and their behaviour in soaps have been
published.
As pointed out
by Sfiras the keeping properties of perfume in
soap are governed by various physico chemical phenomena. He
specifically
mentions the absorption of perfume by the soap evaporation of perfume
the
autoxidation of both soap and perfume and the reactivity of soap due to
the
equilibrium RCOONa + H2O RCOOH +
NaOH. In regard to the first two factors Pickthall s work shows that
some
perfumes will tend to remain in the aqueous phase some will probably be
absorbed on the outer surface of the soap micelle some may be absorbed
between
the methyl tails and some apparently become orientated in the micelle
forming a
more or less stable complex.
Esters. Pickthall
pointed out in 1956 that the effect of
acetylation is to increase strength of odour. He was of course
comparing the
odour yield in soap of acetates and their parent alcohols. Dervichian
of the
Institut Pasteur reiterated this fact in 1961 with the esters there is
no
association hence no solubilisation and as a direct consequence the
esters give
in soaps a more intense odour than do the alcohols. Decyl alcohol gives
a
feeble odour decyl acetate a strong odour geraniol a feeble odour
tetrahydrogeraniol
which is a saturated compound and thus more soluble gives a very weak
odour while
geranyl acetate gives a very strong odour. So if we mix geraniol and
geranyl
acetate in a soap it is the acetate which will dominate whereas in an
alcoholic
solution the reverse will hold good. These results are valid for so
called
anhydrous soaps which actually contain a certain proportion of water (5
10 per
cent).
Esters vary
considerably one from another in their stability
and odour yield in soap but as a group they are valuable constituents
of soap
perfumes. Among the carbinol esters styrallyl (methyl phenyl carbinyl)
acetate is
outstanding.
Alcohols. As we have
seen alcohols tend to give uniformly lower
odour values in soap than do the corresponding esters but for the same
reason
they usually remain well fixed in the soap and their odours though mild
are
persistent. Fatty alcohols have weak odours but unsaturation in the
chain
improves the odour performance. Of the terpene alcohols the most
important are
linalool and terpineol. Anisic alcohol is useful in lilac and muguet.
Ketones. In this group
performance varies considerably. Among
those substances with a good odour yield in soap are the ionones
benzophenone p.
methoxy and p. methyl acetophenones and elhyl amyl ketone.
Aldehydes and
Acetals. Many aldehydes
aromatic terpene and
aliphatic are widely used in soap perfumery despite their reactivity
and
relative instability as a class. Cyclamen amyl cinnamic and lauric
aldehydes
are among those which can give very satisfactory results. In some cases
the
aliphatic aldehydes are pre mixed with the corresponding alcohols with
the intention
of improving their stability by facilitating the formation of hemi
acetals.
Recent work seems to show that this practice has little effect.
Dimethyl and
diethyl acetals cannot be used as simple
substitutes for the corresponding aldehydes. Their odours are different
and
their performance not always encouraging.
Other
Constituents. Of the ethers
several are
distinguished by their satisfactory odour effects in soap. Examples are
amyl
benzyl ether p.cresol methyl ether and diphenyl ether and diphenyl
oxide.
Terpenes can give quite interesting results. As one would expect the
odour
yield of phenols ranges from moderate to poor. Eugenyl acetate gives a
stronger
odour than eugenol or isoeugenol but it discolours and is not entirely
stable.
The effect of methylation as in eugenol methyl ether is to enhance the
strength
of odour. Of the lactones one may note such useful items as gamma nonyl
lactone
gamma undecalactone and coumarin.
 The
soap perfumer of
to day  observed Roy
Huttleston in 1961 Â would
look askance at some of the perfume
formulations used years ago. A typical formula contained large
percentages of
such natural products as neroli cassia cloves geranium lavender
patchouli rosemary
sandalwood and vetiver with only small proportions of coumarin and a
few other
synthetic aromatic chemicals and isolates. This was indeed the picture
up to
the beginning of World War II. A French soap perfume formula used in
the late
1920 s included for example six difterent essential oils four resins
and resin
oids one concrete oil and three straight synthetics (amyl salicylate
and two
nitro musks). Today the cost of such a perfume would be prohibitive and
in the
case of a widely distributed soap a sufficiency of some of the natural
materials might not always be available. Advances in synthetic
chemistry have
provided the soap perfumer with an ever increasing range of synthetic
odorants from
which he can select products of good odour and colour stability capable
of
creating new perfume effects. At the same time the production of
synthetic
odorants aids materially in standardising quality and stabilising
costs. Even
so the utility of the natural products should not be underestimated.
Although
one is now frequently obliged to reverse the practice so reasonably
recommended
in the Twenties (concentrate on natural products and add to their
effect by the
use of isolates and synthetics) it is still true to say as he did then
that
Peru balsam styrax olibanum and other resinoids can form the backbone
of many
soap perfumes which indeed could scaredy exist without them. Other
writers have
also emphasised the usefulness of resinoids as soap perfume
constituents and
fixatives.
Soap Perfumery
Fashions. It is
essential for the
creative soap perfumer to keep in touch with changing fashions not only
in his
own country but throughout the world. Changing Fashions in Soap
Perfumes was
the subject of a paper read some years ago at a meeting of the Société
Technique des Parfumeurs de France. In it the author discussed a
selection of
the newer odorants available at that time under such headings as floral
spicy woody
fruity and musk amber notes. After suggesting applications for these
odorants which
included a few essential oils as well as several synthetics and
products of
only partially disclosed constitution he proceeded to a critical
analysis of
some of the best European perfumed soaps of that period. This is the
kind of
investigation that would normally form part of the background routine
of a
typically enterprising soap perfumer.
White toilet
soaps with
restrained clean smelling odours were made fashionable in the 1935 1945
period.
Since then soaps have become more colourful and their perfumes more
pronounced distinctive
and even exotic. Colour in soap is not merely decorative it also
successfully conceals
any slight discoloration caused by the use of certain odorants which
for this
reason would not be acceptable in pure white soaps. Perfumes are also
used in
some brands at least in higher concentration or at higher intensity –
this
serving to perfume the skin after the bath or shower. Greater care is
also
taken to avoid the use of perfumery materials known to irritate
sensitive
skins.
Other workers
have
recommended that soap perfumes should frequently consist of the
smallest
possible number of ingredients and that above all each odorant should
be
selected for its strength of odour and stability in soap base. What is
not
wanted is a formula containing passengers which do not contribute
effectively
to the final result and which reduce the perfume s overall intensity.
Natural Odours of Aromatic Chemicals
BALSAMIC
DESCRIPTION
Chemicals with a
penetrating pleasant odor similar to the fragrant resin or oleoresin
flowing
from various plants containing benzoic or cinnamic acid.
COMMON VARIETIES
Peru Balsam from
Central America Tolu Balsam from Colombia Copaiba Balsam from Brazil
and
Venezuela Balm of Gilead shrub Middle East Africa Canada Balsam North
America
fir tree Benzoin from Styrax tree in Southeast Asia and Sumatra
CHEMICALS FOR
SCENTMATCHING (1)
Benzyl benzoate (2) Benzylcinnamate (3) Cinnamic alcohol (4) Cinnamyl
acetate (5)
Cinnamyl anthranilate (6) Cinnamyl butyrate (7) Cinnamyl isobutyrate
(8)
Isobutyl cinnamate (9) Phenyl ethyl salicylate
(10) Phenyl
propyl cinnamate
CITRUS
DESCRIPTION
Chemicals with odor
similar to the citrus trees and shrubs flowers (Aurantiaceae).
Citrus is
a generic name referring to a group of trees and shrubs of the Rutaceae
whose
fruits are edible with juice rinds oils and acids all useful.
Citrus trees are
thorny evergreen with
long shiny pointed leaves. The leaves and the flowers are fragrant.
Citrus
plants grow in warm climates where there is no frost or wind. They
contain
large amounts of vitamins and minerals and are high in Vitamin C. Ripe
citrus
fruits are yellow to orange red in color.
Bergamot is only
used in perfumery
and as a histological clearing agent.
COMMON VARIETIES
Citrus aurantium
sweet orange Citrus aurantium var. Bigaradia
bitter orange Citrus
medica citron Citrus medica var. Limonum
lemon Citrus
medica var. Acida lime Citrus
decumana grapefruit (shaddock) Citrus
bergamia bergamot
CHEMICALS FOR
SCENT MATCHING (1)
Acetate C 12 (2) Alcohol C 7 (3) Alcohol C 8 (4) Alcohol C 9 (5)
Alcohol C ll undecylenic
(6) Alcohol C ll undecylic (7) AldehydeC 8 (8)Citral (9) Linalyl
buttyrate (10)
Methyl heptenone pure (11) Methyl nonyl ketone (12) Neryl acetate
FATTY
DESCRIPTION
Chemicals with a fatty
odor
CHEMICALS FOR
SCENT MATCHING (1)
Benzyl laurate (2) Nonoie acid
Â
FLOWERY
DESCRIPTION
Chemicals with a floral
odor
CHEMICALS FOR
SCENT MATCHING (1)
Acetanisole (2) Acetate C 9 (3) Acetate C 11 (4) (Amyl cinnamic alcohol
(5)
Anisyl alcohol (6) Benzyl isovalerate (7) Benzyl propionate (8)
Cinnamic
alcohol (9) Cinnamyl acetate (10) Cinnamyl propionate (11) Ethyl
laurate (12)
Hydroxycitronellal dimethyl acetal (13) Linalool (14) p Methyl
acetophenone (15)
Methyl phenyl carbinol (16) Methyl phenyl propionate (17) Phenyl
acetaldehyde (18)
Phenyl acetic acid (19) Phenyl propyl acetate (20) Phenyl propyl
cinnamate (21)
Phenyl propyl formate
GRASSY
DESCRIPTION
Chemicals with a grassy
odor
CHEMICALS FOR
SCENT MATCHING (1)
Isocyclocitral
GREEN
FLORAL
DESCRIPTION
Chemicals with green top
note and floral background odor
CHEMICALS FOR
SCENT MATCHING (1)
Methyl heptyne carbonate (2) Methyl octine carbonate (3) Methyl phenyl
carbinol
(4) Phenyl acetaldehyde
HARSH
PUNGENT
DESCRIPTION
Chemicals with a harsh
pungent penetrating odor
CHEMICALS FOR
SCENT MATCHING (1)
Aldehyde C 7 (2) Methyl quinoline
HERB
LIKE
DESCRIPTION
Chemicals
with an herb like odor
CHEMICALS
FOR SCENT MATCHING (1) Phellandrene
LEAF GREEN
DESCRIPTION
Chemicals
with an odor similar to green leaves
CHEMICALS
FOR SCENT MATCHING (1) Acetal R (2) p Methyl hydratropie aldehyde (3)
Phenyl
acetaldehyde dimethyl acetal (4) Phenyl acetaldehyde ethÂylene acetal
(5)
Phenyl ethyl acetal (6) n Propyl acetal
MUSKY
DESCRIPTION
Chemicals
with a persistent odor similar to musk
CHEMICALS
FOR SCENT MATCHING (1) Civettal (2) Skatole
ODORLESS FAINT
DESCRIPTION
Chemicals
with an almost imperceptible odor
CHEMICALS
FOR SCENT MATCHING (1) Benzyl alcohol (2) Cetyl alcohol
WAXY
DESCRIPTION
Chemicals
with a waxy odor
CHEMICALS
FOR SCENT MATCHING (1) Myristic alcohol
WOODY
DESCRIPTION
Chemicals
with an odor similar to wood
CHEMICALS
FOR SCENT MATCHING (1) Dimethyl benzyl carbinol (2) Isobutyl quinoline
(3)
Isopropyl quinoline (4) Vetacetyl
Simulated Flower Scents
ACACIA
BOTANICAL Family
Leguminosae Genus Acacia Species Greggii
OCCURRENCE
About450
kinds of acacia grow in tropical regions and lands close to the
tropics. Twelve
varieties grow in the U.S. mostly in Texas and California.
DESCRIPTION The
flowers are bright yellow with a sweet odor. In some plants they
cluster
together forming balls. Others have white flowers.
CHEMICALS
FOR SCENT MATCHING (1) Anisic aldehyde (2) Isobutyl benzoÂate (3)
Methyl
anthranilate (4) Phenyl acetic aldehyde (5) Yara yara
Basis (1) Alcohol
C 9 (2) Alcohol C I0 (3) Aldehyde C 9 (4) Aldehyde CÂ 10
BERGAMOT
BOTANICAL Family
Rutaceae Genus Citrus Species Bergamia Subspecies Risso. Poiteau
CHEMICALS
FOR SCENT MATCHING (1) Citronellyl acetate (2) Limonene (3) Linalool
(4)
Linalyl acetate (5) Linalyl formate (6) Linalyl propionate (7)
Menthanyl
acetate (8) Terpinyl acetate
CARNATION
BOTANICAL Family
Caryophyllaceae Genus Dianthus Species Caryophyllus (common
garden)
DESCRIPTION
There
are pink purple red white and yellow carnation flowers
CHEMICALS
FOR SCENT MATCHING (1) Acetyl isoeugenol (2) Benzyl isoeugenol (3)
Coumarin (4)
Eugenol (5) Methyl eugenol (6) Methyl isoeugenol (7) Nerol (8)
Terpineol (9)
Vanillin
Basis (1) Alcohol
C 9 (2) Aldehyde C 8 (3) Aldehyde C 9
CASSIA
BOTANICAL Family
Leguminosae Genus Cassia Species Acutifolia Angustifolia (Indian)
Matilandia
(wild Surna) Fasciculate (partridge
peas) there are more than 400
species of cassia
CHEMICALS
FOR SCENT MATCHING (1) Anisic aldehyde (2) Anisyl acetate (3) Ionone
(4) Methyl
acetophenone
Basis (1) Aldehyde
C 8 (2) Aldehyde C 9 (3) Aldehyde C 10 (4) Aldehyde C 12
CHRYSANTHEMUM
BOTANICAL Family
Compositae Genus Chrysanthemum
DESCRIPTION A
strong scented shrubby herb growing in temperate regions worldwide. The
name is
from the Greek word meaning golden flower. Because of its beautiful and
abundant blooms it is extensively cultivated. The flowers are white
yellow pink
or red.
CHEMICALS
FOR SCENT MATCHING (1) Phenylethyl formate
CLOVE
SYNONYMS Eugenia
caryophyllata
BOTANICAL Family
Myrtaceae Genus Caryophyllus Species Aromaticus
OCCURRENCE The
tree grows wild in
the Moluccas (also called Spice Islands) in Sumatra Jamaica West Indies
and
Brazil
DESCRIPTION The
name clove refers to
the dried flowers (buds) of a tropical tree.
The buds are
picked before they open to become a flower. They are used as a spice
and are
called cloves.
An oil
distilled from the dried buds and stems is widely used in the flavor
and
perfumery industry.
CHEMICALS
FOR SCENT MATCHING (1) Caryophyllene (2) Eugenol (3) Eugenol acetate
(4)
Isoeugenol phenyl acetate
CLOVER
SYNONYMS New
mown hay Fain coupe
BOTANICAL Family
Leguminosae Genus and Species See Common Varieties
COMMON
VARIETIES Trifoliumpratense (red clover) Trifoliumrepens.
hybridum crimson.
incarnatum alsike (white clover) Melilotus alba (white
sweet clover)
Melilotus officinalis (yellow sweet clover) Melilotus
indica (sour
clover)
DESCRIPTION
About
300 different kinds of clover plants exist. growing wild in fields
lawns and
along roadsides. Some species are cultivated for livestock food.
Red clover provides
pasture for farm animals and enriches the soil because of its high
nitrogen
content. It is also the main source of hay. White clover in
addition to
being a valuable pasture corp provides its blossom nectar to bees for
the
making of superior honey. Alsike clover. alSb
called Swedish clover is
white or pink in color. Crimson clover has a
variety of colors red.
white yellow scarlet. It is also called Italian type clover. Sweet
clover is
called Melilot from the Latin word miele (honey). Sour clover
is
primarily used for improving the soil.
Clover
generally has three leaves. According to superstition four leaved
clover brings
luck while five or six leaved clovers bring misfortune.
CHEMICALS
FOR SCENT MATCHING (1) Benzylidene acetone (2) Benzyl salicylate (3)
Coumarin (4)
Linalyl acetate (5) Methyl salicylate
CYCLAMEN
BOTANICAL Family
Primulaceae (primrose) Genus Cyclamen
CHEMICALS
FOR SCENT MATCHING (1) Cyclamen aldehyde (2) Hydroxy citronellal (3)
Ionone (4)
Rhodinol
Basis (1) Alcohol
C 9 (2) Aldehyde C 9 (3) Aldehyde C 10 (4) Aidehyde C 12
FERN
SYNONYMS Fougere
BOTANICAL The
ferns are classified into 12 families.
The most
common and widely distributed family is Family Polypodiaceae
which
includes several genera Genus Pteridium (the
bracken) Adiantum (maidÂenhair)
Dryopteris (woodfern) Asplenium (spleenworts)
Polypodium (polypody)
Comptosorus (walking leaf) Onoclea (sensitive
fern) Polystichum
(holly ferns).
Other
families include Family Trichomanes (filmy fern) Lygodium
(climbing
fern) Ophioglossum (adder s tongue) Botrychium
(rattlesnake fern)
OCCURRENCE Ferns
grow worldwide but more commonly in the tropics. About 300 varieties
grow in
the U.S.
DESCRIPTION
There
are about 10 000 kinds of ferns in different sizes and shapes from moss
like to
40 foot tall trees. The fern is a flowerless plant.
The basic
fougere
perfume is made by simple blending of oakmoss coumarin and amyl
salicylate or
just oakmoss and amyl salicylate.
CHEMICALS
FOR SCENT MATCHING (1) Ethyl phenyl acetate (2) Isobutyl salicylate (3)
Linalyl
acetate.
Basis (1) Alcohol
C 8 (2) Alcohol C 9 (3) Aldehyde C 8 (4) Aldehyde C 9 (5) Aldehyde C 1O
(6)
Aldehyde C II (7) Aldehyde C 12 MNA
Basic Flavouring Materials
Introduction
Â
The esters of
amyl benzyl butyl ethyl methyl and propyl
alcohols with acetic butyric cinnamic formic oenanthic propionic
salicylic and
valerie acids are extensively used in synthetic compounding of flavors.
Pure
aldehyde C 14 (peach) and aldehyde C Â16 (strawberry) are also
extensively
employed. Ethyl vanillin is used in the preparation of flavors for
beverages
ice creams cakes cookies etc.
The esters are
listed by similarity of flavor and odor to
each specific natural product. Esters much closer in flavor and odor to
the
natural product. They may be categorized as
Fruity Esters with a
generic fruity flavor and odor
Fresh fruits Esters
specifically similar in
flavor and odor to each fruit
Tropical fruits Esters
specifically similar in
flavor and odor to each fruit
Dry fruits Esters
specifically similar in
flavor and odor to each fruit
Naturally sweet
products Esters specifically
similar in flavor and odor to each product
Daily beverages Esters
specifically similar in
flavor and odor to each product
Alcoholic
beverages Esters
specifically similar in
flavor and odor to each product
Dairy products Esters
specifically similar in
flavor and odor to each product
Culinary
additives Esters
specifically similar in flavor and odor to each product
Stabilizers Esters specifically
similar in flavor and odor to each product
During
compounding the quantity of each ester or other chemical is determined
by the
individual s taste and all factory sense in matching the flavor and
odor of
each natural product. These are reported as a general orientation for
the
compounding of flavors and perfumes.
Natural Flavors Simulated with Synthetic Chemicals
FRUITY
CHEMICALS
FOR FLAVOR MATCHING (1) Acetate C 8 (2) Acetate C 9 (3) Aldehyde C 7
(4) Allyl
pelargonate (5) Amy benzoate (6) Amyl butyrate (7) Benzyl butyrate (8)
Benzyl
isoamyl ether (9) Benzyl isovalerate (10) Cinnamyl anthranilate (11)
Cinnamyl
butyrate (12) Cinnamyl isobutyrate (13) Cinnamyl propionate (14) Ethyl
acetate (15)
Ethyl amyl ketone) (16) Ethyl laurate (17) Ethyl pelargonate (18) Ethyl
propionate (19) Ethyl sebacate (20) Linalyl butyrate (21) Linalyl
isobutyrate (22)
p Methyl acetophenone (23) Methyl phenyl propiÂonate (24) Phenyl ethyl
isobutyrate (25) Phenyl ethyl isovalerate (26) Phenyl ethyl propionate
(27) Octyl
butyrate (28) Octyl formate (29) Rhodinyl butyrate (30) Santalyl phenyl
acetate
(31) Terpinyl propionate
FRESH FRUIT
APPLE
BOTANICAL Family
Rosaceae Genus Malus Species Pumila (cultivated) Wild (Malus
sylvestris Malus
baccata)
OCCURRENCE There
are about 30 varieties of wild apples worldwide seven are found in the
U.S.A.
CHEMICALS
FOR FLAVOR MATCHING (1) Acetaldehyde (2) Aldehyde C 11 (undecylenic)
(3)
Aldehyde C 14 pure (4) Aldehyde C I6 (5) Amyl acetate (6) Amyl butyrate
(7)
Amyl propionate (8) Amyl valerianate (9) Citronellol (10) Ethyl acetate
(II)
Ethyl butyrate (12) Ethyl malonate (13) Ethyl nitrate (14) Ethyl phenyl
glycidate (15) Geranyl butyrate (16) Isoamyl butyrate (17) Isoamyl
valerianate (18)
Isovaleraldehyde (19)
Malic acid (20)
Nerolidol (21) Tartaric acid
APRICOT
BOTANICAL Family
Rosaceae Genus Prunus Species Armeniaca
CHEMICALS FOR
FLAVOR MATCHING (1) Aldehyde C 9 (2) Aldehyde C
I4 pure (3) Amyl acetate (4) Amyl butyrate (5) Amyl propionate (6)
Benzyl
acetate (7) Benzyl butyrate (8) Benzyl cinnamate (9) Benzyl propionate
(10)
Cinnamyl alcohol (11) Citronellol (12) Ethyl acetate (13) Ethyl
benzoate (14)
Ethyl butyrate (15) Ethyl cinnamate (16) Ethyl formate (17) Ethyl
oenanthate (18)
Ethyl salicylate (19) Ethyl valerianate (20) Eugenol (21) Heliotropin
(22)
Isoamyl butyrate (23) Phenyl ethyl acetate (24) Phenyl ethyl alcohol
BARBERRY
BOTANICAL Family
Berbindaceae Genus Berberis Species Vulgaris
Thunbergie (Japanese) Julianae (Wintergreen)
OCCURRENCE Grows
in Europe and western Asia
CHEMICALS FOR
FLAVOR MATCHING (1) Aldehyde C 10 (2) Amyl
acetate (3) Amyl butyrate (4) Ethyl acetate (5) Ethyl benzoate (6)
Ethyl
butyrate (7) Ethyl formate (8) Ethyl oenanthate (9) Ethyl salicylate
(10)
Tartaric acid
USES AND NOTES
The berries can be eaten Beverages wine berberi
through fermentation with honey hydromele Syrups jams and jellies
BILBERRY
BOTANICAL Family
Ericaceae Genus Vaccinium Species Corymbosium
VaÂriety Scandinavian
CHEMICALS FOR
FLAVOR MATCHING (1) Amyl butyrate (2) Ethyl
acetate (3) Ethyl benzoate (4) Ethyl salicylate (5) Rhodinyl butyrate
BLACKBERRY
BOTANICAL Family
Rosaceae Genus Rubus Species Occidentalis
CHEMICALS FOR
FLAVOR MATCHING (1) Anisaldehyde (2) Diphenyl
oxide (3) Ethyl oenanthate (4) Heliotropin (5) Ionone (6) Methyl
anthranilate (7)
Methyl ionone (8) Neryl isovalerate (9) Rhodinyl butyrate (10) Vanillin
BLACK
CURRANT
BOTANICAL Family
Saxifrage Genus Ribes Species Nigrum
CHEMICALS FOR
FLAVOR MATCHING (1) Amyl formate (2) Ethyl
benzoate (3) Isoamyl formate (4) Linalyl isobutyrate (5) Linalyl
propionate (6)
Methyl propionate
USES AND NOTES
Black currant has a sharper flavor than the
red currant. It is more popular in Canada and in Europe than in the
U.S. where
the red currant (Ribes rubrum) is used to make
jellies jams wines and
pies.
The golden
currant (Ribes adoratum) or Missouri
flowering currant grows wild in North America. White and yellowish
currants are
usually eaten as a fresh dessert.
BLUEBERRY
BOTANICAL Family
Ericaceae Genus Vaccinium Species Corymbosium
(high blueberry) Pennsylvanium (low
blueberry)
CHEMICALS FOR
FLAVOR MATCHING (1) Amyl propionate (2) Methyl
ionone (3) Rhodinyl butyrate
USES AND NOTES
Desserts creams pastries pies
CHERRY
(SWEET AND SOUR)
BOTANICAL Family
Roseaceae Genus Prunus (sweet) Species
Avium. Cerasus (sour)
CHEMICALS FOR
FLAVOR MATCHING (1) Allyl benzoate (2) Allyl
isovalerate (3) Amyl cinnamate (4) Amyl formate (5) Anisaldehyde (6)
Anisyl
acetate (7) Anisyl propionate (8) Benzaldehyde pure (9) Benzyl acetate
(10)
Cinnamaldehyde (11) Ethyl acetate (12) Ethyl benzoate (13) Ethyl
butyrate (14)
Ethyl oenanthate (15) Metbyl benzyl propionate (16) Rhodinyl formate
(17)
Rhodinyl isovalerate (18) p Tolyl acetaldehyde (19) Tolyl aldehyde (20)
Vanillin
USES AND NOTES
Several kinds of cherry trees are planted for
ornamental reasons Japanese cherry trees are world famous for their
beauty
CRANBERRY
BOTANICAL Family
Ericaceae Genus Vaccinium Species Macrocarpon
Oxycoccus (European)
CHEMICALS FOR
FLAVOR MATCHING (1) Alcohol C 8 (2) Alcohol C
10 (3) Aldehyde C 10 (4) Acetophenone (5) Amyl alcohol (6) Benzaldehyde
pure (7)
Benzyl acetae (8) Benzyl alcohol (9) Benzyl formate (10) Ethyl acetate
(11)
Ethyl benzoate (12) Ethyl isovalerate (13) Ethyl salicylate (14)
Eucalyptol (15)
Furfural (16) Isoamyl acetate (17) Isoamyl alcohol (18) Isoamyl
butyrate (19)
Isobutyl alcohol (20) Linalool (21) Phenyl ethyl alcohol (22) Â Terpineol (23) Valeraldehyde
(24) Vaniliin
USES AND NOTES
Sauces jellies and juices
DATE
BOTANICAL Family
Palmaceae Genus Phoenix Species Dactylifera
CHEMICALS FOR
FLAVOR MATCHING (1) Aldehyde C 14 pure (2)
Cinnamic aldehyde (3) Isoamyl acetae (4) Isoamyl butyrate (5) Isobutyl
phenyl
acetate (6) Eugenol
USES AND NOTES A
tall palm with pinnate leaves yielding
dates. Dates are generally marketed dried. A liquor called arrack is
made from
dates. Ground dates yield oil roasted ground dates can substitute for
coffee
FIG
BOTANICAL Family
Moraceae Genus Ficus Species Carica
CHEMICALS FOR
FLAVOR MATCHING (1) Maltol (2) Ethyl cinnamate
GOOSEBERRY
BOTANICAL Family
Saxifragaceae Genus Ribes Species Hirlillum
(American) Grossularia (European)
CHEMICALS FOR
FLAVOR MATCHING (1) Aldehyde C 14 (2) Ethyl
acetate (3) Ethyl benzoate (4) Ethyl oenanthate
USES AND NOTES
Gooseberries are related to the currants. They
may have prickly hairy or smooth surfaces. They are used in preserves
and pies.
GRAPE
BOTANICAL Family
Vitaceae Genus Vitis Species Vinifera
OCCURRENCE There
are various species of grapes in America Labrusca
or fox Aestivalis Norton Delaware Vulpina Rotundifloria or Muscadine
Catawba red
(winemaking) Concord purple black Niagara green Scuppernong
CHEMICALS FOR
FLAVOR MATCHING (1) Aldehyde C 14 (2) Amyl
butyrate (3) Cinnamyl propionate (4) Ethyl acetate (5) Ethyl formate
(6) Ethyl
oenanthate (7) Ethyl pelargonate (8) Ethyl salicylate (9) Eugenol (10)
Isoeugenol (11) Methyl anthranilate (12) Methyl  naphthyl
ketone (13) Phenyl ethyl anthraniÂlate
(14) Tartaric acid (15) Seedless raisin (unbleached) (16) Lees (dregs)
extract
(sediment of wine during fermentation)
GRAPE FRUIT
BOTANICAL Family
Rutaceae Genus Citrus Species Paradisi. Decumana Maxima (Shaddoh
or pomelo)
CHEMICALS
FOR FLAVOR MATCHING (1) Ethyl acetate (2) Citral (3) LiÂmonen (4)
Linalool (5)
Linalyl acetate
USES AND
NOTES Some grapefruits have no seeds but their taste is not as good as
those
with seeds. Commercial seedless grapefruits include the marsh variety
as well
as ruby and Thompson varieties the popular pink grapefruits. No
difference in
taste is detectable between the pale yellowish and the pink fleshed
grapefruit.
Grapefruit and tangerine trees produce a fruit called tangelo.
HOP
BOTANICAL Family
Cannabinaceae Genus Humulus Species Lupulus (EuroÂpean) Americanus
(wild
American) Scandens (Japanese)
CHEMICALS
FOR FLAVOR MATCHlNG (1) Anisaldehyde (2) Butyric acid (3) Capraldehyde
(4)
Cinnamic aldehyde (5) Ethyl acetate (6) Ethyl isovalerate (7) Ethyl
oenanthate (8)
Ethyl pelargonate (9) Eugenol (10) Heliotropin (11) Limonene (12)
Phenyl ethyl
acetate
USES AND
NOTES Hops are used to make beer
HUCKLEBERRY
BOTANICAL Family
Ericaceae Genus Gaylussacia Species Baccata
CHEMICALS
FOR FLAVOR MATCHING (1) Anethole (2) Ethyl acetate (3) Isoamyl acetate
(4)
Isoamyl butyrate (5) Ethyl benzoate (6) Linalool
USES AND
NOTES The berries have a sweet juice. They are blue black.
LEMON
BOTANICAL Family
Rutaceae Genus Citrus Species Limonia
CHEMICALS
FOR FLAVOR MATCHING (1) Acetaldehyde (2) Alcohol C 8 (3) Aldehyde C 8
(4)
Aldehyde C 9 (5) Amyl valerianate (6) Citral (7) Citral dimethyl acetal
extra (8)
Ethyl acetate (9) Ethyl nitrate (10) Geraniol (11) Geranyl acetate (12)
Linalyl
acetate
LIME
BOTANICAL Family
Rutaceae Genus Citrus Species Aurantifolia
CHEMICALS FOR
FLAVOR MATCHING (1)
Amyl acetate (2) Amyl butyrate (3) p Cymene (4)
Dipentene (5) Ethyl
acetate (6) Hydroxycitronellal (7) Linalyl acetate (8) Methyl nonyl
acetaldehyde (9) Terpineol
LOGANBERRY
BOTANICAL Family
Rosaceae Genus Rubus
Species Ursin us
CHEMICALS FOR
FLAVOR MATCHING (1)
Aldehyde C 9 (2) Benzoic acid (3) Amyl acetate (4)
Ethyl acetate (5)
Ethyl benzoate (6) Ethyl butyrate (7) Ethyl formate (8) Ethyl
oenanthate (9)
Tartaric acid
USES AND NOTES
The flavor of
loganberry is sharp. On cooking however it improves and is used for
canned jams
juices or dried.
MANDARIN
BOTANICAL Family
Rutaceae Genus Citrus
Species Nobilis Variety Deliciosa
CHEMICALS FOR
FLAVOR MATCHING (1)
Aldehyde C 8 (2) Aldehyde C 9 (3) Aldehyde C 10 (4) Amyl acetate (5)
Citral (6)
Ethyl anthranilate (7) Ethyl formate (8) Ethyl salicylate (9) Linalool
(10)
Tartaric acid
Â
Aromatic Chemicals Used in Flavour Compounding
ALDEHYDE
C 18
CHEMICAL
FORMULA C9H16O2
PHYSICAL
PROPERTIES Specific gravity 0.958 0.965 (15 C) Refractive
index 1.4460
1.4500 (20 C)
CHARACTERISTICS
AND USES Coconut
ANETHOLE
CHEMICAL
FORMULA C10H120
DERIVATION By
crystallization from anise or fennel oil synthetically from p cresol
PHYSICAL
PROPERTIES Specific gravity 0.984 0.987 (15 C) Refractive
index 1.5570
1.5610 (20 C) Boiling point 233 234 C Melting
point 22.5 23 C
CHARACTERISTICS
AND USES Anise
ANISALDEHYDE
SYNONYMS Aubepine
CAS NUMBER 123
11 5
CHEMICAL
FORMULA C8H802
DERIVATION From
anethole or anisole by oxidation (anisole is obtained from sodium
phenate methyl
chloride heating phenol with methyl alcohol)
PHYSICAL
PROPERTIES Specific gravity 1.119 1.123 (25/25 C)
Refractive inÂdex 1.570
1.574 (20 C) Boiling point 245 249 C Melting
point 0 to 4 C
CHARACTERISTICS
AND USES Cherry anise
BENZALDEHYDE
CHEMICAL FORMULA
C7H6O
CAS NUMBER 100
52 7
DERIVATION (a)
Air oxidation of
toluene with uranium or molybdenum oxides as catalysts (b) Chlorination
of
toluene with further hydrolysis by acid or alkali
PHYSICAL
PROPERTIES Specific
gravity 1.041 1.046 (25/25 C) Refractive inÂdex 1.5440
1.5465 (20 C)
Boiling point 179.5 C
CHARACTERISTICS
AND USES Bitter
almond
BENZYL
BUTYRATE
CHEMICAL FORMULA
C11H14O2
PHYSICAL
PROPERTIES Specific
gravity 1.006 1.009 (25/25 C) Refractive inÂdex 1.4920
1.4960 (20 C)
Boiling point 242 C
CHARACTERISTICS
AND USES Rose apricot
BOURBONAL
SYNONYMS Ethyl
vanillin
CAS NUMBER 121
32 4
CHEMICAL FORMULA
C9H10O3
DERIVATION From
vanilla beans
PHYSICAL
PROPERTIES Melting point
76.5 78 C
CHARACTERISTICS
AND USES Vanilla
CARVONE
CAS NUMBER 99 49
0
CHEMICAL FORMULA
C10H14O
DERlVATION d
form main component of
caraway and dill oils l form occurs in spearmint
synthetically from d
limonene and rectified
PHYSICAL
PROPERTIES Specific
gravity 0.960 0.964 (15 C) Refractive index 1.4995
1.1502 (20 C) Boiling
point 225 231 C
CHARACTERISTICS
AND USES Caraway
CINNAMIC
ALDEHYDE
CAS NUMBER 104
55 2
CHEMICAL FORMULA
C9H8O
DERIVATION (a)
From Ceylon and
Chinese cinnamon oils (b) By condensation of benzaldehyde and
acetaldehyde
PHYSICAL
PROPERTIES Specific
gravity 1.047 1.051 (25/25 C) Refractive inÂdex 1
6200 1.6230 (20 C)
Boiling point 118 120Â C
CHARACTERISTICS
AND USES Cinnamon
CINNAMYL
ALCOHOL
CAS NUMBER 104
54 1
CHEMICAL FORMULA
C9H10O
DERIVATION (a)
From cassia oil or
cinnamon oil (b) By reduction of cinnamic aldehyde
PHYSICAL
PROPERTIES Specific
gravity 1.029 1.034 (30 C) Refractive index 1.572
1.577 (30 C) Boiling
point 256.6 C Melting point 32 34 C
CHARACTERISTICS
AND USES Rose
CINNAMYL
BUTYRATE
CHEMICAL FORMULA
C13H16O2
PHYSICAL
PROPERTIES Specific
gravity 1.010 1.015 (25/25 C) Refractive inÂdex 1.5250
1.5280 (20 C)
Boiling point 262 C
CHARACTERISTICS
AND USES Rose fruits
CINNAMYL
PROPIONATE
CHEMICAL FORMULA
C12H14O2
PHYSICAL
PROPERTIES Specific
gravity 1.029 1.033 (25/25 C) Refractive inÂdex 1.5320
1.5370 (20 C)
CHARACTERISTICS
AND USES Grape
CITRAL
CAS NUMBER 5392
40 5
CHEMICAL FORMULA
C10H16O
DERIVATION (a)
Isolated by
fractional distillation of lemongrass (b) Synthetically by oxidation of
geraniol neroli or linalool by chromic acid
PHYSICAL
PROPERTIES Specific
gravity 0.881 0.889 (25/25 C) Refractive inÂdex 1.4820
1.4910 (20 C)
Boiling point 228 229 C
CHARACTERISTICS
AND USES Lemon
CITRONELLOL
CAS NUMBER 106
22 9
CHEMICAL FORMULA
C10H20O
DERIVATION (a)
From citronella oil geranium
oil savin oil (b) Reduction of citronella or geraniol
PHYSICAL
PROPERTIES Specific
gravity 0.852 0.860 (25/25 C) Refractive inÂdex 1.4530
1.4600 (20 C)
Boiling point 224.4Â C
CHARACTERISTICS
AND USES Rose
COUMARIN
CAS NUMBER 91
64 5
CHEMICAL
FORMULA C9H6O2
DERIVATION (a)
By heating salicylic aldehyde sodium acetate and acetic anhy dride (b)
Isolated from tonka beans
PHYSICAL
PROPERTIES Boiling point 301.7 C Melting
point 68 70.5 C
CHARACTERISTICS
AND USES Caramel
CUMIC ALDEHYDE
CAS NUMBER 122
03 2
CHEMICAL
FORMULA C10H12O
PHYSICAL
PROPERTIES Specific gravity 0.976 0.980 (25/25 C) Refractive
inÂdex 1.530
1.5340 (20 C) Boiling point 235 237Â C
CHARACTERISTICS
AND USES Violet
DECYL ACETATE
SYNONYMS Acetate
C 10
CHEMICAL
FORMULA C12H24O2
DERIVATION By
gently boiling capric aldehyde and glacial acetic acid (for several
hours
together) in presence of zinc dust or powder precipitating with water
and
distilling under reduced pressure
PHYSICAL
PROPERTIES Specific gravity 0.862 0.866 (25/25 C) Refractive
inÂdex 1.4250
1.4300 Boiling point 103 104 C
CHARACTERISTICS
AND USES Fruits rose
n DECYL ALCOHOL
SYNONYMS Alcohol
C 10 1 decanol
CHEMICAL
FORMULA C10H22O
DERIVATION
Reduction
of coconut oil fatty acids from C9Â olefin
and gas
synthesis by otto process
PHYSICAL
PROPERTIES Specific gravity 0.826 0.832 (25/25 C) Refractive
inÂdex 1.4350
1.4390 (20 C) Boiling point 231 C
CHARACTERISTICS
AND USES Rose neroli
n DECYL ALDEHYDE
SYNONYMS
Aldehyde
C 10 n decanal
CHEMICAL
FORMULA C10H20O
DERIVATION
Occurs
in lemongrass citronella orange and many other oils Synthetically by
oxidation
of alcohol C 10 or reduction of decanoic acid (capric acid). Capric
acid is
obtained by fractional distillation of coconut fatty acids
PHYSICAL
PROPERTIES Specific
gravity 0.822 0.830 (25/25 C) Refractive inÂdex 1.4270
1.4300 (20 C)
Boiling point 207 209Â C
CHARACTERISTICS
AND USES Orange violet
DODECYL
ALDEHYDE
SYNONYMS
Aldehyde C 12 MNA lauric
aldehyde lauryl aldehyde
CAS NUMBER 112
54 9
CHEMICAL FORMULA
C12H24O
PHYSICAL
PROPERTIES Specific
gravity 0.822 0.830 (25/25 C) Refractive inÂdex 1.4310
1.4360 (20 C)
Boiling point 184 185Â C
CHARACTERISTICS
AND USES Violet
ETHYL
ACETATE
CAS NUMBER 141
78 6
CHEMICAL FORMULA
C4H8O2
DERIVATION By
heating acetic acid
and ethyl alcohol in presence of sulfuric acid and distilling
PHYSICAL
PROPERTIES Specific
gravity 0.905 (15 C) Refractive index 1.3726
(20 C) Boiling point
75.7 78 C
CHARACTERISTICS
AND USES Cognac fruity
ETHYL
ACETOACETATE
CHEMICAL FORMULA
C6H10O3
DERIVATION By
the reaction of
metallic sodium on ethyl acetate and distilling
PHYSICAL
PROPERTIES Specific
gravity 1.026 (15 C) Boiling point 181
C
CHARACIERISTICS
AND USES Apple pineapple
ETHYL
BENZOATE
CAS NUMBER 93 89
0
CHEMICAL FORMULA
C9H10O2
DERIVATION By
heating ethyl alcohol
and benzoic acid in presence of sulfuric acid and distilling
PHYSICAL
PROPERTIES Specific
gravity 1.043 1.046 (25/25 C) Refractive inÂdex 1.5030
1.5060 (20 C)
Boiling point 260 C
CHARACTERISTICS
AND USES Black
currant
ETHYL
BUTYRATE
CAS NUMBER 105
54 4
CHEMICAL FORMULA
C6H12O2
DERIVATION By
heating ethyl alcohol
and butyric acid in presence of sulfuric acid and distilling
PHYSICAL
PROPERTIES Specific
gravity 0.881 0.886 (15 C) Refractive index 1.396
1.492 (20 C) Boiling
point 120 125 C
CHARACTERISTICS
AND USES Pineapple
ETHYL
MALONATE
CAS NUMBER 105
53 3
CHEMICAL FORMULA
C6H10O4
DERIV ATION By
passing hydrogen
chloride into cyanoacetic acid dissolved in absolute alcohol and
distilling
PHYSICAL
PROPERTIES Specific
gravity 1.055 (15 C) Boiling point 198.4
C
CHARACTERISTICS
AND USES Apple
ETHYL
MYRISTATE
SYNONYMS Ethyl
tetradecanoate
CHEMICAL FORMULA
C16H32O2
PHYSICAL
PROPERTIES Boiling point
295 C Melting point 10 11 C
CHARACTERISTICS
AND USES Butter
ETHYL
OENANTHATE
SYNONYMS Ethyl
heptanoate cognac oil
CHEMICAL FORMULA
C9H18O2
DERIVATION By
heating oenanthic acid
and ethyl alcohol in presence of sulfuric acid and distilling
(oenanthic acid
is obtained by oxidizing heptanol with potassium dichromate and
sulfuric acid)
PHYSICAL
PROPERTIES Specific gravity
0.871 0.872 (15 C) Refractive index 1.414
(20 C) Boiling point 187
189 C
CHARACTERISTICS
AND USES Cognac wine
fruity soft drinks (apricot cherry currant gooseberry grape artificial
essence
of bourbon etc.)
ETHYL
PELARGONATE
SYNONYMS Ethyl
nonylate
CHEMICAL FORMULA
C11H22O2
DERIVATION From
alcoholic solutions
of various essences
PHYSICAL
PROPERTIES Specific
gravity 0.863 0.865 (25/25 C) Refractive inÂdex 1.421
1.426 (20 C) Boiling
point 227 231 C
CHARACTERISTICS
AND USES Wine cognac
Solvents
Introduction
Solvents are
liquids which dissolve
other substances (solute) generally a solid without any change in the
chemical
composition (solution).
The proportion
of the substances in
a solution depends on the solvent solubility which is limited to a
certain
quantity at a given temperature and pressure. The solution when a
maximum of
solute is dissolved is termed saturated. A supersaturated solution can
be
created but may be turbid and may further precipitate.
Solvents are
classified by their
dissolving capacity. The aromatic hydrocarbon solvents have a higher
solvent
capacity than the aliphatic type. The organic solvents are classified
in groups
based on their chemical composition and are given with some examples
Hydrocarbons aliphatic N aphtha and its fractions
         Â
Hydrocarbons
aromatic Benzene
toluene xylene
Alcohols Ethyl alcohol ethylene methyl
alcohol
Ethers Dimethyl ether ethylene glycol
monoethyl ether
Ketones
Acetone
methyl ethyl ketone methyl isobutyl ketone
Esters Butyl acetates butyl lactate ethyl
acetate
Chlorinated Chloroform tetrachloroethane
monochlorobenzene
Nitrated Nitroethane nitromethane 1
nitropropane 2
nitropropane nitro benzene
Amines Monoethanolamine diethanolamine
pyridine
Liquefiedgases Ammonia sulfur dioxide
Solvents Commonly Used for
Flavors and Perfumes
ACETONE
SYNONYMS
Dimethyl
ketone 2 propanone ketopropalle pyroacetic ether
CAS NUMBER 67
64 1
CHEMICAL
FORMULA C3H6O
MOLECULAR
WEIGHT 58.08
DERIVATION
Oxidation
of cumene or butane or oxidation of isopropyl alcohol with a metallic
catalyst by
product of synthetically produced glycerol
CHARACTERISTICS
Form Volatile liquid Color Colorless
Odor Sweetish
PHYSICAL
PROPERTIES Specific gravity 0.792 Refractive
index 1.3591 Boiling
point 56.2 C Flash point 15 F Solubility
Miscible with water alcohol
ether chloroform and most oils
USES AND
NOTES General solvent (not for flavors)
WARNING AND
CAUTION Toxic fire risk
BENZENE
SYNONYMS Benzol
cyclohexatriene
CAS NUMBER 71
43 2
CHEMICAL
FORMULA C6H6
MOLECULAR
WEIGHT 78.11
DERIVATION
Fractional
distillation of coal tar catalytic reforming of petroleum
CHARACTERISTICS
Form Liquid Color Colorless or
yellowish Odor Aromatic
PHYSICAL
PROPERTIES Specific graviry 0.8790 (20/4 C) Refractive
index 1.50110
Flash point 12 F Solubility Miscible
with alcohol ether acetone carbon
tetrachloride slightly soluble in water
USES AND
NOTES General solvent (not for flavors)
WARNINGS AND
CAUTION Toxic fire risk
CORN OIL
SYNONYMS Maize
oil mazola oil maydol
BOTANICAL Family
Graminaceae Genus Zea Species Mays
CHARACTERISTICS
Form Oil Color Yellowish or
brownish Odor Faintly oily
PHYSICAL
PROPERTIES Specific
gravity 0.914 0.921 Refractive index 1.464Â
1.468 Flashpoint 610
F Solubility Soluble in chloroform ether slightly
soluble in alcohol
USES AND NOTES
Food pharmaceuticals
COTTONSEED
OIL
BOTANICAL Family
Malvaceae Genus Gossypium
Species Herbaceum oil
CHARACTERISTICS Form
Oil Color
Yellowish Odor Odorless
PHYSICAL
PROPERTIES Specific
gravity 0.915 0.921 Refractive index 1.4645
1.4655 Solubility Slightly
soluble in alcohol soluble in ether chloroform carbon disulfide
USES AND NOTES
Cosmetics soaps foods
CYCLOHEXANE
SYNONYMS
Hexamethy1ene hexanaphthene
hexahydro benzene
CAS NUMBER 110
87 7
CHEMICAL FORMULA
C6H12
MOLECULAR WEIGHT
84.16
DERIVATION From
crude petroleum catalytic
hydrogenation of benzene
CHARACTERISTICS Form
Mobile
liquid Color Colorless Odor Pungent
PHYSICAL
PROPERTIES Specific
gravity 0.779 (20/4 C) Refractive index 1.4264
(20C) Boiling
point 80.7 C Flash point 1 F
Solubility Insoluble in
water soluble in alcohol
USES AND NOTES
Essential oils
extraction solvent for resins fats oils
WARNINGS AND
CAUTION Fire risk
DlETHYL
PHTHALATE
SYNONYMS Ethyl
phthalate 1 2
benzenedicarboxylic acid diethyl ether
CAS NUMBER 84 66
2
CHEMICAL FORMULA
C12H14O
MOLECULAR WEIGHT
222.23
DERIVATION
Reaction of phthalic
anhydride with ethyl alcohol
CHARACTERISTICS Form
Liquid Color
Colorless Odor Odorless
PHYSICAL
PROPERTIES Specific
gravity 1.120 Refractive index 1.5002
(25 C) Flashpoint 325 F
Solubility Insoluble in water miscible with almost
all esters and
hydrocarbons
USES AND NOTES
Perfumery solvent fixative
denaturant
WARNINGS AND
CAUTION Toxic
ETHYL
ACETATE
SYNONYMS Acetic
ether acetic ester acetic
acid ethyl ester vinegar naphtha
CAS NUMBER 141
78 6
CHEMICAL FORMULA
C4H8O2
MOLECULAR WEIGHT
88.10
DERIVATION By
heating acetic acid
and ethyl alcohol in presence of sulfuric acid and distilling
CHARACTERISTICS Form
Liquid Color
Colorless Odor Fragrant
PHYSICAL
PROPERTIES Specific
gravity 0.8945 Boiling point 77 C Flashpoint
24F Solubility
Slightly soluble in water soluble in alcohol ether chloroform
USES AND NOTES
Flavors pharmaceuticals
WARNINGS AND
CAUTION Toxic fire risk
ETHYL
ALCOHOL
SYNONYMS Grain
alcohol ethanol
CAS NUMBER 64 17
5
CHEMICAL FORMULA
C2H6O
MOLECULAR WEIGHT
46.07
DERIVATION Wine
from grapes
.molasses from ethylene
CHARACTERISTICS Form
Volatile
liquid Color Colorless Odor Pleasant
PHYSICAL
PROPERTIES Specific
gravity 0.816 (15.56C) Refractive index 1.3651
Boiling point 78
C Flash point 55 F Solubility Miscible
with water ether chloroform
acetone
USES AND NOTES
Solvent for essential
oils flavors perfumes beverages medicine
WARNINGS AND
CAUTION Fire risk
GLYCEROL
SYNONYMS
Glycerin glycyl alcohol 1 2
3 propanetriol trihydroxy propane
CAS NUMBER 56 81
5
CHEMICAL FORMULA
C3H8O3
MOLECULAR WEIGHT
92.09
DERIVATION By
product of soap from propylene
and chlorine
CHARACTERISTICS Form
Syrupy
liquid Color Colorless Odor Odorless
PHYSICAL
PROPERTIES Specific
gravity 1.2620 Boiling point 290 C Flash
point 320F Solubility
Soluble in water alcohol insoluble in ether benzene
chloroform
USES AND NOTES
Perfumery cosmetics liqueurs
flavors
GLYCERYL
TRIACETATE
SYNONYMS
Triacetin 1 2 3
propanetriol triacetate triacetyl glycerin enzactin
CAS NUMBER 102
76 1
CHEMICAL FORMULA
C9H14O6
MOLECULAR WEIGHT
218.20
DERIVATION From
glycerol and acetic
acid
CHARACTERISTICS Form
Liquid Color
Colorless Odor Fatty
PHYSICAL
PROPERTIES Specific
gravity 1.160 (20 C) Refractive index 1.4312
(20 C) Boiling point
258 260 C Flash point 300 F Solubility
Slightly soluble in
water soluble in alcohol ether
USES AND NOTES
Perfumery cosmetics flavors
medicine
n HEXANE
CAS NUMBER 100
54 3
CHEMICAL FORMULA
C6H14
MOLECULAR WEIGHT
86.17
DERIVATION
Fractional distillation
from petroleum (molecular sieve process)
CHARACTERJSTICS Form
Liquid Color
Colorless Odor Faint
PHYSICAL
PROPERTIES Specific
gravity 0.65937 (20/4 C) Refractive index 1.37486
(20 C) Boilingpoint
68.742C Flash point 9 F Solubility
Insoluble in water soluble
in alcohol acetone ether
USES AND NOTES
Solvent for vegetable
oils
WARNINGS AND
CAUTION Toxic. fire
risk
ISOPROPYL
ALCOHOL
SYNONYMS
Isopropanol dimethyl
carbinol 2 propanol petrohol
CAS NUMBER 67 63
0
CHEMICAL FORMULA
C3H8O
MOLECULAR WEIGHT
60.09
DERIVATION From
propylene and
sulfuric acid with hydrolyzing
CHARACTERISTICS Form
Liquid Color
Colorless Odor Fragrant
PHYSICAL
PROPERTIES Specific
gravity 0.7863 (20/20 C) Refractive index 1.3756
(20 C) Boiling
point 82.4 C Flash point 59 F Solubility
Soluble in water alÂcohol
ether
USES AND NOTES
Solvent for essential
oils flavors perfumes
WARNINGS AND
CAUTION Toxic fire risk
POLYSORBATE
80
SYNONYMS POE
(20) sorbitan oleate
Tween 80
CAS NUMBER 9005
65 6 (generic)
DERIVATION
Condensation of ethylene
glycol or ethylene oxide and water
CHARACTERISTICS Form
Viscous
liquid Color Yellowish
PHYSICAL
PROPERTIES Solubility Soluble
in water and almost all solvents
USES AND NOTES
Cosmetics flavors pharmaceuticals
PROPYLENE
GLYCOL
SYNONYMS Methyl
glycol 1 2
propanediol 1 2 dihydroxypropane methylethylene glycol
CAS NUMBER 57 55
6
CHEMICAL FORMULA
C3H8O2
MOLECULAR WEIGHT
76.09
DERIVATION
Hydration of propylene
oxide
CHARACTER1STCS Form
Viscous
liquid Color Colorless Odor Odorless
PHYSICAL
PROPERTIES Specific
gravity 1.0381 (20/20 C) Refractive index 1.4293
(27 C) Boiling
point 187.3 C Flash point 210 F Solubility
Soluble in water alcohol
and almost all solvents
USES AND NOTES
Flavors perfumes syrups
soft drinks
SOYBEAN
OIL
SYNONYMS Soya
bean oil soy oil Chinese
bean oil
BOTANICAL Family
Leguminosae Genus
Soya Species Hispida oil
CHARACTERISTICS Form
Oil Color
Yellowish or brownish Odor CharacterÂistic
PHYSICAL
PROPERTIES Specific
gravity 0.924 0.929 Refractive index 1.4760Â
1.4775 Flashpoint 540F
Solubility Soluble in alcohol ether chloroform
carbon disulfide
USES AND NOTES
Foods
WATER
DISTILLED
SYNONYMS
Hydrogen oxide
CHARACTERISTICS Color
Colorless
Odor Odorless
PHYSICAL
PROPERTIES Specific
gravity 0.997 Refractive index 1.333 Boiling
point 100 C
USES
AND NOTES Universal solvent
Â
Colorants for Flavours and Perfumes
Natural Colors
ALKANET
SOURCE/COLOR
Alkanet root red
BOTANICAL Family
Boraginaceae Genus Alkanna Anchusa Species Tinctoria
USES AND
N0TES The color red is prepared from its roots (alkannin). It is
employed for
coloring wines cosmetics and fats and as an astringent.
ANNATTO
SOURCE/COLOR
Annatto yellowish red
BOTANICAL Family
Bixaceae Genus Bixia Species Orellana
USES AND
NOTES The color is made from the pulp around the seeds of this tropical
tree
(bixion). It is employed in coloring butter margarine cheese oils ice
cream ice
cream cones sausage casing bakery goods and spices. It is also used in
combination with turmeric.
 APO
8 CAROTENAL
SOURCE/COLOR
Apo 8 carotenal orange 6
USES AND
NOTES It is an aldehydic carotenoid found in spinach oranges grass
tangerine and
marigold. It is used in coloring fat products such as cheese margarine
and
oils.
BEET
SOURCE/COLOR
Beets (dehydrated powder) dark red
BOTANICAL Family
Chenopodiaceae (goosefoot) Genus Beta Species Vulgaris
USES AND NOTES
The beet roots
contain red pigments (betacyanins) and yellow pigments (betaxanthins)
collectively
classified as betalains. Of the betacyanins 75 95% is betanin which is
the main
colorant of the beet.
The colorant is
employed in candies yogurts
ice creams cakes powdered drinks soft drinks gelatin dessert meat
substitutes.
Much of the world s sugar comes from the sugar beet.
BUCKTHORN
SOURCE/COLOR
Buckthorn yellow
BOTANICAL Family
Rhamnaceae Sapodilla
Genus Rhamnus. Brumelia Species Cathartica Lycioides
USES AND NOTES
Native to Eurasia
with small greenish flowers black berries
CAMPEACHY
SOURCE/COLOR
Campeachy wood
(longwood) blue
BOTANICAL Family
Leguminosae Genus
Haematoxylon Species Campeachianum
USES AND NOTES A
crystalline
phenolic compound is also in the log wood and employed mainly as a
biological
stain.
CANTHAXANTHIN
SOURCE/COLOR
Canthaxanthin orange
BOTANICAL Family
Thallophyta Genus
Cantharellus Species Cinnabarinus
USES AND NOTES
Initially isolated
from an edible mushroom (Cantharellus cinnabarinus) and
also found in
marine algae in sea trout daphnia salmon brine shrimps and several
species of
flamingo.
Canthaxantin is
available as a dry
powder and used as a colorant (orange 8) for tomato fruit drinks baked
goods sausage
products.
CARAMEL
SOURCE/COLOR
Caramel dark brown
USES AND NOTES
Caramel is a burned
sugar generally made from liquid corn syrup. The major use for caramel
is in
soft drinks particularly root beer and cola. Other uses include the
coloring of
syrups rum candies preserves canned meat products cough syrups and
pharmaceuticals.
CATECHU
SOURCE/COLOR
Catechu brown
BOTANICAL Family
Acacia Genus Catechu
Species Gambier
USES AND
NOTES It is obtained from a tropical Asiatic plant. It is used in
dyeing and
tanning and in medicines. Catechu makes brown dyes used in coloring
leather. It
is also used to dye and print cotton cloth such as calico.
CHLOROPHYLL
SOURCE/COLOR
Chlorophyll green
USES AND
NOTES The extraction is made with strong alcohol from green plants. It
is
employed as a coloring agent and deodorant. The solution is blue green
with a
deep red fluorescence. The extract which is waxy is soluble in alcohol
ether chloroform
acetone carbon disulfide and benzene. As a green colorant it is used
mostly for
soaps oils fats waxes liquors preserves cosmetics toothpaste medicine.
COCHINEAL
SOURCE/COLOR
Cochineal carmine red 4
ZOOLOGICAL Family
Cochinilla Genus Dactylopius Species Coccus Variety Cacti
USES AND
NOTES A red dyestuff made from the dried bodies of the female cochineal
insects
which feed on cactus (Coccus cacti).
It is used
in candies pill coating and as a biological stain and indicator.
CUD BEAR
SOURCE/COLOR
Cud bear yellow
BOTANICAL Family
Lichens Genus Lecano raceal Species Rocellaceae
USES AND
NOTES A reddish purple powder colorant from lichens. It is used for
coloring
syrups elixirs etc.
CURCUMA
SOURCE/COLOR
Curcuma root yellow
BOTANICAL Family
Zingiberaceae Genus Curcuma Species Longa
USES AND
NOTES
See Turmeric
ERYTHROSINE
SOURCE/COLOR
Erythrosine brown
USES AND
NOTES Brown powder forming cherry red solution in water. It is employed
for
coloring foods.
GUANINE
SOURCE/COLOR
Guanine iridescent
USES AND
NOTES A crystalline substance obtained from fish scales consisting of
two
purines guanine and hypoxanthine. The colorant content of guanine is
about 75
97% while that of hypoxanthine is about 3 25% depending on fish type
and respective
tissue. Fishes providing this material include herrings alewives and
menhades.
The material
is not a colorant but a pearly white silvery iridescent employed in
lipsticks nail
polishes and eye makeup.
HUCKLEBERRY
SOURCE/COLOR
Huckleberry black red
BOTANICAL Family
Ericaceae Genus Gaylussacia Species Baccata
USES AND
NOTES American shrubs related to the blueberries and bearing edible
fruits
INDIGOTIN
SOURCE/COLOR
Indigotin indigo blue
BOTANICAL Family
Leguminosae Genus Indigofera Species Indigo
USES AND
NOTES A tropical plant growing mostly in Bengal Java and Guatemala.
Indigotin
is a dark blue crystalline powder with coppery luster. It is insoluble
in water
alcohol and ether and soluble in chloroform glacial acetic acid and
nitrobenzene.
Indigotin is
also produced synthetically from aniline and chloroacetic acid. The
resultant
phenyl glycine is further fused with alkali and sodium amide.
KINO
SOURCE/COLOR
Kino red
BOTANICAL Family
Leguminosae Genus Pterocarpus Species Marsupium
USES AND
NOTES Kino is a plant which grows in western Africa East India and Sri
Lanka.
It is used as an astringent.
MALLOW FLOWERS
BOTANICAL Family
Malvaceae Genus Malva Arborea Species Silvestris. Rotundifolia
USES AD
NOTES It is used mostly in coloring vinegar and food products.
PAPRIKA
SOURCE/COLOR
Paprika and paprika
oleoresins red
BOTANICAL Family
Solanaceae Genus
Capsicum Species Tetragonum
USES AND NOTES
Paprika has a
brighter red color and a sweeter taste than the red cayenne pepper.
Both
paprika and its oleoresin have a good tinctorial capacity in producing
orange
to bright red color.
PERNAMBUCO
SOURCE/COLOR
Pernambuco wood red
BOTANICAL Family
Leguminosae Genus
Caesalpina Species Echinata
USES AND NOTES A
wood from Lima Peru
and Nicaragua used as a dye.
POKEBERRY
SOURCE/COLOR
Pokeberry red or
pockeweed
BOTANICAL Family
Phytolaccaceae Genus
Phytolaceae Species Americana
USES AND NOTES
The pokeweed plant
has dark purple juicy berries and white flowers. Its roots are
poisonous.
SAFFLOWER
SOURCE/COLOR
Safflower yellow
BOTANICAL Family
Compositae Genus
Carthamus Species Tinctorius
USES AND NOTES
An edible drying oil
is obtained from the seeds of this herb which has orange or red
flowers. The
color is prepared from the flower s heads.
SAFFRON
SOURCE/COLOR
Saffron yellow
BOTANICAL Family
lridaceae Genus Crocus
Species Sativus
USES AND NOTES
Saffron has a sweet
scent and taste. It is a brilliant yellow dye. Four thousand flowers of
saffron
make about one ounce of commercial saffron which is used in flavoring
and
coloring candy and in cooking.
SANDALWOOD
SOURCE COLOR
Sandalwood red
BOTANICAL Family
Santalaceae Genus
Santalum Species Album
USES AND NOTES A
kind of scented
wood from a tropical tree the sandalwood oil is pressed out and used
for
perfume cosmetics and medicine
TARTRAZINE
SOURCE/COLOR
Tartrazine yellow 5
USES AND NOTES A
bright orange
yellow powder. It is employed as a color additive in foods drugs and
cosmetics.
It is freely soluble in water.
Stabilizers
Stabilizers are
substances which are added to another
substance to prevent or retard any alteration. Those utilized in
compounding
flavors and perfumes are of vegetal origin occurring as natural gums.
Gums occur as
exudations from various trees and shrubs in
tropical areas. They differ from natural resins in their chemical
composition
and solubility properties. Some contain acidic components while others
are
neutral. Their main use is as protective colloids and emulsifying
agents in
food products andpharmaceuticals as sizing agents for textiles and in
the
electrolytic deposition of metals. They are insoluble in alcohol and
other
solvents but are generally soluble or dispersible in water.
Seaweeds of cold
water especially brown algae are also used
as stabilizers.
AGAR
AGAR
BOTANICAL Family
Rhodophyceae Genus Gelidium Gracilaria Gigartina
Species Corneum Lichenoides Speciosa
DERIVATION Agar
is a dried gelatinous substance obtained by
concentration and decoction of seaweeds or marine algae.
Derived from red
algae mostly from the Gelidium and Gracilaria
they occur in tropical Asia and along the Pacific coast of
the U.S. There
are four kinds of algae brown red green and blue green. Blue green
algae are
toxic to fish and other aquatic life. Algae range in size from single
cell to
giant (over 200 ft) and include many kinds of seaweeds.
Algae are
employed as food supplements soil conditioners animal
feeds and as a source of iodine.
PROPERTIES Agar
agar is translucent or pale powder. It is
strongly hydrophilic absorbing 20 times more than its weight of cold
water and
forming hard gel at about 40C
USES Agar agar
is used in confectionery meat and poultry desserts
beverages ice cream foods laxatives pharmaceuticals dental impressions
laboratory
reagents photographic emulsions.
ARABIC
GUM
SYNONYMS Acacia
gum
BOTANICAL Family
Leguminosae Genus Acacia Species Senegal
DERIVATION
Exudes from the stems of Acacia Senegal and
other related species
PROPERTIES Thin
flakes powder or granules white or yellowish almost
odorless with a mucilaginous taste soluble in water yielding a viscous
solution
insoluble in alcohol
USES Arabic gum
is used in food preparation as a thickening
agent and colloidal stabilizer adhesive for multipurpose use in textile
printing
ink pharmaceuticals and cosmetics
BEAN
GUMS LOCUST
BOTANICAL Family
Leguminosae Genus Robinia (black) Species
Pseudoacacia Kelseyi Neomexican (New Mexico) Viscosa
(clammy)
DERIVATION From
the long locust pods which are filled with
wax coated seeds
PROPERTIES It
swells in cold water with increasing viscosity
on heating insoluble in organic solvents
USES Food
stabilizer thickener emulsifier cosmetics sizing
and finishes for textiles pharmaceuticals paints.
CARRAGEEN
SYNONYMS Irish
moss
BOTANICAL Family
Gigartinaceae Genus Chondrus Species Crispus
DERIVATION
Extracted from a phycocolloid (algae)
called carrageen or Irish moss in the red algae (Chondrus and
several
species). Growing in rocky places off Great Britain Ireland east coast of
southern Canada New England and southern New Jersey.
PROPERTIES It is
hydrophilic and readily absorbs water
USES Emulsifier
in food products especially chocolate milk toothpastes
cosmetics pharmaceuticals
GUAR
GUM
BOTANICAL Family
Leguminosae
Genus Cyamopsis Species Tetragonoloba
DERIVATION From
the Cyamopsis
tetragonoloba cultivated in Pakistan for live stock feeding.
The water
soluble part of the
flowers (85%) is called guaran  which
consists of 35% galactose and 63% mannose.
PROPERTIES White
or yellowish
powder. It is soluble in water with a thickening power 5 8 times
greater than
starch.
USES The seeds
contain a
chemical compound called mannolagactan used in foods cosmetics
pharmaceuticals thickener
emulsifier paper manufacture.
KARAYA GUM
SYNONYMS
Sterculia gum Indian
tragacanth
BOTANICAL Family
Sterculiaceae
Genus Sterculia Species Urens
DERIVATION
Exudes from Indian
trees of the genus Sterculia
PROPERTIES White
to dark
brown or black. Its viscosity decreases over six months storage. It
forms a
translucent colloidal gel in water.
USES Ice cream
and other food
products adhesives thickener emulsifier tooth pastes.
PECTIN
 description
From pektos a Greek word meaning congealed. Pectin is a
substance found
in many fruits and vegetables which yield pectin when boiled. It is a
white
amorphous carbohydrate substance that forms a gelatinous mass in the
cooking of
fruits or vegetables causing gelation.
Extraction
Extraction
Method from Juice (1) Use filtered
clear juice (2) Add double volume of
alcohol 95% (3) Precipitate in a gelatinous mass (4) Filter through
linen or
canvas (5) Press (6) Dry (7) Dissolve in distilled water (8) Filter
several
times (9) Add hydrochloric acid (10) Precipitate again with alcohol 95%.
Extraction from
Dry Peels of
Fruits (1) Use raw
shredded or dry stored peels (2) Add distilled
water (3) Boil in a stainless steel vessel (4) Add diluted hydrochloric
acid or
sulfuric acid (5) Heat at 93 100 C for one hour (6) Yields water
soluble
pectin.
Pectin Acid
Extraction (1) Use ripe
fruit washed with a sodium hydroxide solution (2) Dry (3) Wash with
isopropyl
alcohol (4) Dry (5) Add hydrogen chloride alcoholic solution (10%) (6)
Dry (7)
Wash again with isopropyl alcohol (8) Dry.
Extraction of
Pectin from Lemon Fruit (1) Use
lemon rinds boiing in several changes of alcohol (2) Heat in an
autoclave for
one hour at 110C in presence of distilled water (3) Filter (4)
Precipitate
using double doubel volume of acidified alcohol (5) Remove acidity by
washing
with alcohol or ether (6) Dry in a vacuum dessicator over sulfuric acid.
Extraction of
Pectin from Orange
Fruit (1) Boil oranges
in a reflux condenser eight times for 20 min
each time (2) Add 6 liters of alcohol 95% (3) Press the mass between
each
boiling (4) Add 3 liters of distilled water to the final press cake (5)
Heat
the mixture in autoclave for one hour at 110C (6) Press (7) Filter
until clear (8)
Add double volume of alcohol 95% with 7 ml of concentrated hydrochloric
acid
per liter (9) Press the coagulum in a cloth (10) Wash the pectin with
ether (11)
Dry in a vacuum dessicator over sulfuric acid Yield 20% of pectin
Pectin General
Preparation (A) (1) Use
mass (2) Add hot diluted acid (Cu Al metal satls) at 70 90C (3)
Precipitate by
adding ethyl or isopropyl alcohol (4) Wash with distiled water to
remove the
metal (5) Dry (6) Pulverize.
(B) (1) Use mass
(2) Add hot
distiled water (acidified) (3) Precipitate by adding Al salts (4) Dry
at low
temperature (5) Pulverize.
(C) (1) Use mass
(2) Add water (3
Filter (4) Concentrate (5) Precipitate by adding alcohol (6) Recover
alcohol.
(D) (1) Use mass
(2 Add diluted acid
(3) Dehydrate by evaporation (4) precipitate by adding alcohol or
acetone.
TRAGACANTH GUM
SYNONYMS Gum
dragon
BOTANICAL Family
Leguminosae Genus
Astragalus Species Gummifer
OCCURRENCE
Southwestern Europe Greece
Turkey Iran
DERIVATION
Exudes from the stems of
the Astragalus gummifer and other Astragalus
genus plants   Â
Â
PROPERTIES Dull
white translucent
plates or yellowish powder. Strongly hydrophilic. It swells in water.
It
contains bassorin pectin and starch.
USES
Emulsifying agent thickener
for food ice cream desserts toothpastes soachips and powders hair wave
preparations adhesives leather dressing textile printing and sizing
pharmaceutical
emulsions cigar making.
Â
Formulations of Flavours
Notes
The
esters of amyl benzyl butyl methyl and propyl alcohols with acetic
anthranilate
butyric capric formic propionic and valeric acids are employed to
simulate the
fruit flavors. For example a peach flavor is enhanced by Aldehyde C 14
a
strawberry flavor by Aldehyde C 16 and a pineapple flavor by ethyl
butyrate.
All the formulas of these flavors are made with these esters.
The
proportion used for making essences is 2 or 3 volumes (2 or 3 cc per
liter of
solvent) for each completed formula.
All
formulas are alphabetically listed including their ingredients. The
ethyl
alcohol 95% and distilled water are always listed last in each formula.
Ingredients
denoted by an asterick are formulas which may be found in this book.
Let stand
for several days (either 10 8 or 3 depending on the maximum flavor and
odor
development which can also be obtained by fermentation with the
addition of
sugar in double amount before the addition of alcohol and distilled
water).
Stir for 1 h daily.
Yield
Proportionate
to the amount of fruits and doubled ethyl alcohol 95% and distilled
water.
Almond Bitter
A variety of the
common almond (Prunus amygdalus amara)
having bitter kernels that yield a highly poisonous oil. It is used for
flavoring only when the prussic acid in it has been totally removed.
Pulverize # 1
13. Macerate
with sugar and alcohol (#11 14) for 10 days stirring every day for 1 h.
Filter.
To the residue add double amount of ethyl alcohol 95% and distilled
water. Let
stand for another 3 days stirring every day for 1 h. Filter. To the
residue add
double amount of ethyl alcohol 95% and distilled water. Let stand for
another 3
days stirring every day for 1 h. Put altogether and distill.
Dissolve
caffeine in 722 g boiling water. Add 28 g citric
acid. Add phosphoric acid syrup. Add glacial acetic acid. Add cola
tincture.
Dissolve vanillin and all the essential oils. Blend all with stirring.
Let
stand for 48 h stirring four times every 12 h. Let stand for another 48
h without
any agitation. Separate the resins at the bottom. Separate the terpenes
at the
surface. Separate the clear middle portion siphoning with a rubber
tube. Filter
all cloudy parts of the bottom with filter paper. Place the oily upper
portion
in a narrow small container and siphon off the clear portion. Add to
the other
clear portion and shake well.
Use 35 ml of
this extract and 15 ml of liquid caramel to make
a finished syrup. Prepare a simple syrup by mixing 3 kg of sugar 700ml
of
distilled water and 50 ml of this syrup to make a gallon of imitation
cola
syrup. Concentration 50 ml/gal.
For each listed
product separately
dry and cut in very small pieces. Roast slowly and gently stir until
each
reaches a brownish color. To the weight of each add 50% ethyl alcohol
95% and
50% distilled water. Let stand for 1 week stirring every day for 1 h.
Filter.
Reuse the residue for another three times adding 50% ethyl alcohol 95%
and 50%
distilled water each time. Combine the extract and filter.
Fondant Orgeat Praline
Fondant A softcreamy
compound of sugar water and flavorings used
as a basis for candies or icing.
Organt From the French
word orge meaning barley a sweet
almond flavored nonalcoholic syrup used as a cocktail ingredient or
food flavoring.
Praline Generally a
confection of nut kernels especially
almonds roasted in boiling sugar until brown and crispy a patty of
creamy brown
sugar and pecan meats.
Glace Cake Mix
(Candied for
fruit cakes and desserts encrusted or coated with sugar or baked with
sugar or
syrup until translucent).
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