Much of what we know about cosmetic preparations and even medicinal applications as we understand them today has come from the study of the ancient Egyptians. Hygeine and overall appearance was paramount in ancient Egyptian society and notable with the aristocracy. There were two main catalysts which propelled the art of perfumery and cosmetics in the Egyptian world and its ongoing evolution by other cultures. The first was the harsh, sunny and dry climate of the Giza plateau. Perfumed oils and other cosmetics helped to preserve the skin and hair and its supple qualities. The second was the rituals and oblations expected in the “cult of the Gods”, Egypt’s longstanding and vast pantheon of deities. The use of cosmetics and perfumed preparations has been recorded as far back as 4,000 B.C.E. in Egypt before the dynastic periods had even begun, and it has developed since that time into an art form uniquely its own.
The Egyptian repertoire of cosmetics and perfumes included powders, perfume oils, and complex unguents created from plants and herbal matter native to the land along with imported materials as the spice trade developed in the eastern world. In fact, because of the increasing demand for such exotic preparations a whole seperate industry evolved in the way of containers; both simple and elaborate, as well as other types of bottles and jars with which to store these precious substances. During earlier periods in ancient Egypt most of these receptacles were made of stone, but in later periods marble and alabaster were also used as the manufacturing industry developed.
In Egypt’s Middle Period, new and exotic ingredients were being imported from the famous “Land of Punt” (modern day Somalia). These most sought after additions included resins and spices such as myrhh, cinnamon, laudanum, pistacia resin (mastic), and frankincense. These materials were heavily used in pursuant historical periods, and they still are today.
It was during the Greek Ptolemaic Dyasty that a new capitol, Alexandria, was established which became the greatest center of trade in the ancient world. Other exotic spices and herbs were imported from as far as India and Arabia to support the growing demand for fragrant material which had, by that time,
become almost a necessity for daily living. Another endeavor of the Egyptians during the Ptolemaic period was the building of elaborate temples with which to honor the Gods and Goddesses of the day, along with laboratories and special “rooms” reserved strictly for the manufacture of the sacred scented preparations. Aromatics were produced for the commoner as well as the elite in Egyptian society. It is due to the remains of these facilities which are still being excavated and studied today, that much of what we know of ancient Egyptian methods and applications for cosmetics has been gleaned.
From recent investigations into the remains of these ancient buildings we know that the craft of perfumer or “perfumess” as it may be, was not a lowly one. Executing complex formulas in an astounding array of combinations required not only extensive botanical knowledge, but a knowledge of chemistry and composition in order to reproduce the variety of recipes.
In the Pyramid Texts, the oldest collection of religious writings in the world, we find the “Seven Sacred” oils recorded. As rendered by noted Egyptologist Dayagi-Mendeles these were named as follows: “Festival Perfume”, “Hekenu Oil”, “Sefet Oil”, “Nekhemen Oil”, “Tewat Oil”, “Best Libyan Oil” and “Best Cedar Oil”. (1) These seven sacred oils or unguents as they have also been called are often referred to elsewhere in Egypt such as the Temple at Edfu along with other aromatic applications mentioned for beauty, healing and ritual. Thanks to the profuse writings of later classical authors such as Pliny and Dioscorides who expressed admiration for the Egyptian’s masterful skill in the area of perfumery, much of the illegible or otherwise obscure writings discovered from ancient times has been better clarified. The greek physician Theophrastus remarked in his work, “Concerning Odours” that Egyptian perfumes were without doubt “the very best to be found in all the world”. (2)
The lavish use of scented oils, aromatic unguents, and incenses continued through to the Late Period when Greek and Rome became more prominent in the political arena. By the end of the Ptolemaic dynasty a new religion was appearing throughout the mediterranian and the eastern world; that of Christianity. Christianity was a monotheistic religion completely opposed to the luxurious style of adornments the Egyptians were famous for; not to mention the vast difference in the ideologies of the two spiritual approaches. Christianity on the one hand was was a faith based upon almost “Essenic” renunciations and austerities. In sharp contrast was the “cult of the Gods”, Egypt’s polytheistic approach to divinity complete with an array of rites, rituals, and sensual accompaniments to go along with it. It was just at this point that the dramatic adornments and traditions as accustomed by the Egyptians was pre-empted by the restictive abstinence preached by Christianity on the new world scene.
Daily Life With Aromatics
The Egyptians had a unique approach to the practice of hygeine in their abundant use of fragrant materials for anointing the body and they knew more than thirty different oils for this purpose. Although anointing with oil was common throughout the ancient world, the full bathing of the body was a practice the Egyptians were rigorous about and one rather foreign to other cultures. Most other societies reserved that sort of luxury for festivals and holy days. In addition to the anointing of the body, anointing the sacred deities was another practice of the Egytians as was the burning of incense for ritual offerings.
What we know about the recipes and preparations of Egyptian aromatics has survived from papyrus fragments and temple ruins, along with the documentation left by later writers as mentioned earlier. Common ingredients used in aromatic preparations were animal fats, vegetable oils, beeswax, milk, honey, and of course plant materials. The Ancient Egyptian Woman
Most of the cosmetics and oils used by the ancient Egyptian women were stored in special boxes often elaborately detailed. The higher a woman’s societal status of course warranted the more ornamented accessories. Even less privelaged women however had their own cosmetic “boxes” that were constructed from rush reeds or straw as opposed to the pricier stone or alabaster varieties. These cosmetic cases were often stored under a woman’s bed in ancient times.
From a 16th Century Papyrus:
“To Remove wrinkles Make an ointment of frankincense, gum, beeswax, oil and cypress kernals. Mix it with milk and apply to the face for many days.”(3)
During later Egyptian periods, many of the actual cosmetic containers themselves too became quite ornamental, and some also included inscriptions as to the nature and use of the their contents. Kohl containers were designed in tube shapes and were a staple cosmetic receptacle with which to store the powder/paste used to line the eyes. Kohl paste was made usually from green malachite or jasper mixed with water and fat, also galena was used and at times lapis lazuli for the making of eye “treatments”. All of these were referred to as “kohl”. Not only women adorned the eyes in ancient times but men as well! Lining the eyes was not only decorative, but served to protect the eyes from the harsh sun and dust particles. Dipping small sticks into the kohl “tubes” and then painting around the eyes was the common method of application. A technique from which our more modern eyeliners have evolved no doubt!
Another cosmetic employed by Egyptian women was the use of rouge or blush to paint the cheeks and lips. According to Dayagi-Mendeles, the use of lip paint was first mentioned in the Turin “Exotic Papyrus” which dates from the New Kingdom period. Hematite, red ochre and at times henna were mixed with oils and fats to create a colorful face paint. Although I have not seen it authoritatively mentioned, I find it hard to believe that alkanet (Al-Khanna) was not also included in the pigment choices for rouge cosmetic.
Despite the luxuries locks depicted in ancient Egyptian art and iconography the Egyptians actually promoted the practice of shaving the whole body, head included. Priests were even required to shave their eyebrows! Wigs were common methods of adornment that denoted both status and style in the ancient Egyptian world. The flowing shoulder length style worn by women in some periods was symbolic of the Goddess Hathor, a major feminine deity in the Egyptian pantheon. Although there were occasions when one’s own hair was coiffed, more often than not the elaborate styles as we see them on tomb walls were wigs.
Most wigs were made from both human and animal hair and sometimes plant fibers. Pomade made from wax was believed to have been used as a type of “dressing” to hold the style in place. The members of a harem were often assigned the task of dressing their mistresses hair. Likewise, men of stature had their own servants to assist in the areas of hair style and appearance. On several tomb wall remains we find elaborately styled hair topped by what appears as a cone of sorts. Although still up for debate as to its exact purpose, this odd adornment is widely believed to have been an unguent cone of fragrant fat that sat atop ones head and as it melted it anointed the whole person with scent.
The maintaining of a youthful appearance paramount in ancient Egyptian society was always a challenge with the onset of age. Graying hair was a problem as was baldness. Hence, many formulas were created to remedy these complaints for men and women.
In the pursuant materials given in this feature perfumery ingredients and their preparation will be discussed as well as the practical methodology of the ancient Egyptians. Due to the ongoing controversy in the rendering of ancient Egyptian writings as well as related writings given by later classical sources, some of the materials mentioned may or may not remain accurate particularly in the area of plant identifications. As it stands today, several plants (that were at one time authoritatively accepted as the precise botanical referred to in ancient writings) are now being called into question by modern Egyptologists as new light is shed on the vast and complex perfume arts mastered by the ancient Egyptians.
The plant materials used in Egyptian perfumery and cosmetics were varied and employed both native and non-native species. In this material we will focus on the herbs specificially used in the production of
perfumes and cosmetics although, many of these plants were also used medicinally. As previously mentioned, many plant identifications are still up for debate. In most of these cases, it is not so much that the use of a particular botanical was doubted by Egyptologists as much as it was that the exact word or term used for it in ancient Egyptian writing has yet to be identified. Due to this, plants cited by one Egyptian scholar may well differ from those presented by another. The first listing of botanicals are those more widely used either because they were more accessible, or simply because they were more favored in the production of aromatics. The second list will relate other well know herbs that were perhaps more obscure or later imports, yet included in one formula or other. Following both plant listings is a review of the fats and oils used in ancient Egyptian preparations.
The Herbs – Popular Botanicals
Ash- (Fir Resin) (Abies Cilicica)
The Egyptian word for this herb was also the same given to one of the “Seven Sacred Unguents” (Sefet Oil). Manniche says it is a resinous pine tree that grows in Lebanon as well as other eastern locales. It is distinct from another resin mentioned as “pine resin” (Pinus Spp.) whose kernals were frequently mentioned in Egyptian recipes. Both fir and pine varieties are similar to what we now know as the “Ash Tree”. Unfortunately, I have see both types of trees called “Ash” and cannot cite exactly which Egyptologist is correct. I would presume both species could be considered a type of “Ash” although Manniche does specifically cite the Pinus spp. and not the Abies Cilicica above as the true “Ash Tree” as we know of it in the western world. Both exude a resinous substance used for its aroma and astringent qualites for perfumery and medicine.
Aromatic Reed (Andropogon Schoenatus L. & spp.)
A species recorded by Pliny and mentioned in Egytian writings. Due to the hieroglyphic representation and other materials regarding this plant its true identity is still up for debate. It had been used interchangeably with ginger by some scholars; yet others claim it to be Cymbopogon Citratus, what we know today as lemon grass. Its origin is India and it was well used in perfumery; its aroma has been likened to verbena as described by classical authors and it has also been referred to as “camel grass”.
Balsam (Commiphora Opobasamum & spp.)
The buds and bark or twigs of this tree were used widely in ancient preparations of all kinds. Reminiscent of cypress and other firs, it was one of the popular imports from the Land of Punt. According to Dayagi-Mendeles, it was recorded that Queen Hapshetsut sent a royal expedition to Punt (16th century) to acquire seeds and seedlings to start a “garden” of Balsam in Egypt. Josephus wrote in his work “War…”, “Antony gave Cleopatra the palm grove at Jericho in which the Balsam is produced.” (Josephus, War, 1:361). Lise Manniche however states that the attempts at naturalizing this tree were likely unsuccessful in the Egyptian climate.
Bitter Almond (Amugdalen Communis)
Usually the fruit or “seed” was used of this Asian plant famed for its beautifying properties. Modern aromatherapists consider the oil of the bitter almond toxic as it contains prussic acid, but in ancient Egypt is was used widely in cosmetics and purportedly by Cleopatra VII in her youth preserving “amond milk”.
Bdellium (Commiphora Erythraea & C. Africana)
Believed to have been imported from Punt it is in the myrrh family but stronger than myrhh. Later classical authors often used myrrh and bdellium interchangeably in some recipes.
Cassia (Cinnamomum Cassia)
Often confused with cinnamon and in the same family. However, the whole cassia plant exudes the cinnamon like aroma unlike true “cinnamon” from which most of the aroma is found in the bark and in certain periods of growth, the leaves as well. (Author’s Note: Today, cassia has been found to be photoxic in essential oil form by some modern day aromatherapists. As one who researches, uses and recreates ancient formulas I have found that its reputation of phototoxicity occurs only in highly sensitive people or, if used in great quantity in undiluted form. In this regard, the subject of “toxicity” is relative and could thus apply to many other botanicals as well.) Cinnamon- (Cinnamomum Zeylanicum & spp.) Originated in Ceylon, Sudan, China and found in many other far eastern countries. As mentioned above, cinnamon and cassia are often confused. Ancient classical sources claim that in fact, both herbs derived from a single plant (I feel this is very likely myself). In Pliny’s writings two varieties of cinnamon were mentioned; one black and one white with black cinnamon considered the greater of the two for perfumery purposes. Most cinnamon oil was made from the aromatic bark but another oil is now made from the leaves of the plant once they reach a certain age and are no longer green. Apparently, the theory that cinnamon is only aromatic in the bark no longer applies with the onset of the aging of the plant itself.
Cyperus (Cyperus Rotundus & spp.)
Originated in North Africa as well as areas of the meditarranean. Pliny reported it as a reed similar to the common reed and it has also been interchanged with another similar species called “Privet” (Ligustrum Vulgare), a more modern alternative. Cyprus in ancient Egyptian formulas was used to render animal fats less odorous for perfume compositions and was one of the ingredients in the famous “Kyphi” perfume. It was also used as a thickening agent.
Date Palm (Phoenix dactylifera;?)
The fruit of this plant was used more to make a wine that was often called for to render animal fats of their strong odour. Date palm wine was also included in mummification practice and medicinal unguents.
Francincense (Boswellia spp. & Commiphera spp.)
Frankincese was one of the herbs extensively used that was not native to Egypt but imported from Punt. It also grows in southern Arabia. The resin exudate was collected and dried and was used in perfume compositions as well as for ritual temple burning. It is not only renowned for its exotic musky aroma for but also for its skin healing qualities and was included in some of the sacred unguent recipes along with myrhh.
Galbanum (Ferula Galbaniflua; F. Rubri Caulis; F. Ceraophylla)
A resinous exudate used for it fixitive qualities as well as its heavy aroma. Another ingredient used in the “Kyphi” perfume.
Gum Benzoin (Styrax Benzoin)
A common fixative in perfumery historically, yet thus far has been not been authoratatively recognized as part of the Egyptian perfumery herbs although “gum resins” in general are mentioned. It originates from Sumatra and is a resinous exudate. It has been used interchangeably with the terms “benzoin”, “styrax” “liquid storax” and “liquidamber”. It is not the same exact shrub from which liquidamber (Liquidamber Orientalis, and L. Styracifula) is obtained actually although both species produce gum resins which are harvested even today. Further, to be specific it is styrax officinalis which yeilds storax or “styrax” and styrax benzoin which yields “benzoin” precisely. The leaf portion of styrax officinalis we know today as “chaparral”.
Henna (Lawsonia Inermis)
Used extensively throughout the east for medicines, cosmetics, and fabric dye in addition to perfumery. Dayagi-Mendeles states it is also called Alkanet however, as found in Manniche’s work (15), the alkanet or Al-Khanna herb and Henna are two distinct plants. (See Alkanet below.) The henna plant is native to egypt and a beautiful perfume oil is made from its white flowers (now called “Mehndi”) which in ancient Egypt was called Cyprinum oil. The earliest use of henna in topical cosmetics like hair and nail dye dates to about 3500 B.C.E.
Iris- (Iris Florentine L.; Iris Germanica L.; Iris Pallida)
Often confused with orris root or “sweet flag” which it is not although related. The tuber has been used for perfumery historically but it has never been identified in Egyptian writings although it was recorded by Theophrastus as an herb that was possibly used in Egypt.
Juniper (Juniperus spp.)
A fragrant wood and one of the ingredients used in kyphi among other perfumes. Both the berries and wood were used in incense. Juniper was also used in mummification as well as medicinally.
Ladanum (Labdanum, Laudanum) (Costus Ladaniferus)
A resinous exudate. Often made into incense cakes for temple offerings as well as used as a fixative in perfumes. Possesses a heavy musk like odour.
Lily (Lilium Candidum)
Often associated feminine Egyptian deities it is a bulb which has its origin in the middle east. Lily oil was used extensively in perfumery particularly among the aristocracy. It has been rumoured that it was with lily oil that Cleopatra VII anointed the sails of her ships as they sailed down the Nile river.
Lotus (Nymphaea Lotus & Nymphaea Cerulea)
An aquatic water lily both the blue and white lotus were well used throughout Egypt for its religious significance as well as its haunting fragrance. It was a common temple offering and associated with creative principles and immortality. Egyptian priestesses commonly wore lotus perfume and it was also considered to be an aprhrodisiac.
Marjoram (Majorna Hortensis & Origanum Majorana)
Sacred to the Egyptian crocodile God, Sobek, marjoram was the main ingredient in the famous “Sampsuchinon” oil. It originated in the middle east and the leaf as well as the flowering tops were used. It is strongly antibacterial and was used in medicinal unguents as well as perfumery. It was believed to confer longevity on those who applied the majorum perfume regularly
Myrhh (Commiphora Mirha)
Originates from Arabia, Ethiopia as well as parts of Egypt it was a mainstay in ancient Egyptian society for ritual, beauty and medicines. The favored reddish brown “tears” were obtained from the bark of the plant and were often referred to in Egyptian writings as “the tears of Horus”. Myrhh is a resin exudate like francincense and was also used in mummification.
Myrtle (Myrtus Communis L.)
A fragrant green shrub native to the Mediterranean used for perfumery, adorments and in cooking. Manniche states that a common infusion of myrtle in olive oil was used as a perfume on its own, also, it was used for fumigatory purposes as well as medicinally.
Nard or “Spikenard”- (Nardostachys Jatamansi)
This enigmatic plant mentioned in the Bible originates from Syria, India and parts of the Mediterranean. A member of the valerian family, it was mentioned in later classical sources but not specifically “identified” in the Egyptian repetoire of perfumery plants (although the reference of “Nard” itself is acknowledged). Several plants have been referred to by the name “Nard” or “Spikenard” and it remains a mystery as to precisely which botanical is the true “Nard” so often mentioned throughout many ancient eastern writings. As it stands we accept it to be the species (Nardostachys Jatamansi) as given above.
Opopanax- (Opopanax Chironium K.; -Opopanax Hispidus ? )
A rather obscure resin that was part of some of the perfume potions made by the Egyptians. Its origins are Syria and Africa and it is obtained today from Commiphor Erytrea a variety related to the more ancient one noted above. Similar to vetivert it has also been called “costgrass”.
Pistacia- (Pistacia Terebinthus L.)
Also called “terebinth” and “gum mastic” or just “mastic” it was imported from Punt and used in perfumes, medicines and wine production.
Saffron (Crocus Sativus L.)
A typical crocus flower from which the red stamens are used often in culinary dishes but that also produces an interestng scent as well in perfumery. Originated in Lycia, Cyrenaica, and Silicia.
Other Herbs
Acacia
(Acacia Nilotica?) Acacia also called Egpytian acacia grows naturally in Egypt and was used mostly for medicinal preparations. However, the wood of this tree was said to possess magical properties and was possibly used for ritual burning. Alkanet (Al-Khanna)- (Alkanna Tinctoria) It is a plant with a thick purplish bark like root and often used for dying textiles as well as candles and according to Theophrastus, also for coloring perfumes and unguent cones a characteristic red hue. It has been confused with henna (see above) but is its own distinct variety of plant. In Egypt is was called the “blood tree”.
Aniseed
(Pimpinella Anisum L.) Believed to have originated in Asia Minor it was native to Egypt and was most often used in medical preperations. A strong oil is made from the seeds pungent odour that may have been included in some perfumery preparations although little evidence supports this.
Artemisia
(Artemisia Arbrotanum L. & Artemisia Absinthium) Dayagi-Mendeles cites the arbrotanum variety and describes it as similar to wormwood with a penetrating scent. Manniche however cites the absinthium type used later in Europe for a famous liquor referred to as the “Green Fairy” called “Absinthe”. The absinthium variety has been long reputed to have magical properties, but in ancient Egypt it was used mostly for its medicinal qualities. Today it is known as wormwood from which an essential oil is made and available on the market.
Cardomom
(Elleteria Cardomomum) The pods or seeds were included in later versions of the famous Egyptian “Kyphi Ointment” by Greek and Roman authors, but its actual identification has yet to be found in Egyptian writings specifically. There is no doubt that cardomom was likely included somewhere in Egyptian perfumery particularly with the growing spice industry in later dynastic periods.
Dyers Chamomile
(Anthemis Tinctoria L.) Erroneously Roman or German chamomile is cited as the variety used in ancient Egyptian preparations but none of the authorities I have referenced states so. It was the yellow or “Dyer’s” chamomile accepted as the variety referred to ancient Egyptian writings. The flowers of this plant were similarly used like the more known varieties for dyeing purposes. The flowers were included in the garland used to adorn Tutankhamun’s mummy and, it is believed that they also were aligned spiritually with the Egyptian sun God Re.
Cinnibar (Cinnibari)
(Petrocarpus Draco; Petrocarpus Sanalinus) Today known as “dragons’s blood” it is not be confused with vermillion or the mercury ore used in jewelry. The plant exudes a resin used for fumigatory purposes and it possesses fixative qualities.
Coriander
(Coriandrum Sativum L.) Used in many medicinal preperations it was also used as an offering in the temple of the Gods. Traces of it have been found in the tomb of Tutankhamun and, it is widely known in modern times as a culinary spice.
Cumin
(Cumin Cyminum L.) Native to Egypt this herb was used for flavoring as well as perfumery. It was purportedly an aid for conception in women and in a famous headache unguent referred to by both Manniche and Dayagi-Mendeles that was included in addition to cumin, myrhh, juniper berries, moringa oil and lotus along with two other unidentified plants.
Fir Resin (See Ash above)
Ginger
(Zingibar Officinalis) Although not referenced by Manniche in early dynastic periods, it was mentioned by Dayagi-Mendeles as possibly a component in certain recipes as it is one of the interpretations of the word “aromatic reed” by some scholars.
Laurel- (?)
There are many varieties of laurel and I have no authoritative version to cite the specific variety that may have been used by the Egyptians. Laurel however in later Roman periods was a tree whose leaves were used for rituals and adornment. In several Roman renditions of the Egyptian potion called “Tiryac”, laurel was added as an ingredient.
Malobrathrum- (Cinnamomum ?)
Considered a variety of the Cinnamoma species and has been etymologically interpreted by some ancient sources to be “spikenard”, which it is not as well as another herb “Florium Indicum”. It is authoritatively accepted as a wild species of Cinnamomum indigenous to India which is still used to this day medicinally. It is included as it was mentioned in Dyagi-Medeles’text on Egyptian aromatics and one which he states is native to Egypt. (4)
Melilot- (Melilot Officinalis)
Also known as yellow sweet clover it contains coumarin and is included in assorted culinary and other fragrant preparations.
Mint- (Mentha Spp.)
Used in ornamentation and included in some Kyphi recipes. According to Manniche Pliny cited at least four varieties of mint that could have been likely used in Egyptian aromatic formulas as well as later Roman versions.
Rose- (Rosa Gallica; Rosa Ricardii)
It has been confirmed as a flower used in ancient times by many cultures and is believed to have originated in Persia from which it then spread across Mesapotamia. Although both of the above varieties have been identified in Egyptian ancient remains, the “ricardii” type is apparently now extinct. Dayagi-Mendeles also cites another “damascena” variety that was likely more of a Roman botanical than that used by the Egyptians. The simplest use of the fragrant petals according to Manniche is that of “oil of roses” which is a basic infusion of the flower in oil. Later classical sources added other ingredients to the unadorned Egyptian perfume oil like alkanet which rendered the resulting perfume a more “rose” color.
Rosewood- (Ligni Rhodii; Convulvus Scoparius)
Dyagi-Mendeles refers to it in his text but I cannot find it specifically mentioned elsewhere regarding ancient Egyptian perfumery. The wood of the tree is used to produce a sort of cross between rose and hemlock scent (in my opinion) but I say this based upon the varieties of rosewood I myself have used which may not be the same as those used in ancient times.
The Oils
An array of vegetable based oils was employed for the production of perfume in 
ancient Egypt. Some are no longer in use today, and others are now well known in the modern world. According to Joan Fletcher (5), the selection of oils used for preparations was primarily based upon what one could afford and avail themselves of. Obviously, Egyptian royalty received preparations made of only the very finest of ingredients; while a commoner was left to use whatever was more readily available and affordable. Typically, oils were used mainly for unguents, perfume oils, and medicinal remedies thereof. Almond Oil- Pressed from the seed or “fruit” of Prunis Dulcis and Prunus Anygdalus; that is the almond tree. Bitter almond oil was widely used in Egypt but today, the sweet almond oil is the common type found in modern preparations as well as for aromatherapy. Almond oil was noted for its skin preserving quality.
Balanos Oil
Obtained from Balanites Aegyptiaca. Although not suitable for ingestion it was prized for its use in perfumery according to classical sources. At one time this species grew abundantly in Egypt but today is rarely found.
Colocynth Oil
A golden coloured oil from Citrillus Colocynthus, it was found to be in use in Predynastic periods. It was native to Egypt and Manniche states that the dried fruit from which this is oil was made is toxic in large quantities.
Lettuce Oil
Lactuca Sativa L. seeds were used to make this oil that was employed in medicinal treatments and as a hair restorant. The leaves were also eaten and the plant itself was sacred to the fertility god Min in ancient Egypt.
Moringa Oil
Moringa Ptery Gosperma; Moringa Aptera kernals produced moringa oil widely used in medicinal preparations as well as cosmetics and in cooking. Later in European writings it is often referred to as “Ben Oil”.
Olive Oil
An oil made from Olea Europaea L. that was believed to have been introduced in Egypt in its later periods. It became a main oil for herbal infusions and unguents. Many varieties of olive oil are well known today and used in all sorts of recipes both cosmetic and culinary worldwide.
Omphacium
This oil was made from green olives and referred to by Greek and Roman authors as one produced in Egypt during in later Dynasties. It was peculiar in that it was made from unripe olives, particularly those harvested in August. The oil was manufactured by a process of grinding, pressing and then filtering the unripened olives which resulted in a dark, almost black coloured oil that was used for both cosmetic and medicinal applications. (6)
Poppy Oil
The pale yellow oil obtained from the seed of Papaver Somniferum, the opium variety of poppy cultivated in Egyptian gardens. The oil had sedative properties due to the presence of morphine inherent in the unripe seed pod itself. Used more medicinally than for perfumery.
Radish Oil
Obtained from the seeds of Raphanus Sativus L. and was used for anointing, cooking, and medicines.
Safflower Oil
Obtained from Carthamus Tinctorius L. it was used mainly for cooking but also in some medicinal preparations. It is still used today in both east and west in the same manner.
Sesame Oil
A prized oil from the seeds of Sesamum Indicum that was pricier than some of the other oils mentioned during ancient times. It was noted for its skin preserving benefits, as it still is today, and was used in unguents, cooking and also as a lamp oil.
Tiger Nut Oil
A prized oil obtained from Cyperus Esculentus it is less common in modern times. The oil was extracted from the edible “tiger nuts” of the cyperus plant and it was possibly used in perfumery according to some sources.
Fats
Most fats used in ancient Egyptian cosmetic preparations as far as is known were animal fats obtained from camel, geese and sheep- all readily available in ancient times. Other animal fats used came from ox, donkey, water fowl, tiger, snake, lion and crocodile among others. It is believed by some authorities that the Egyptians used these more exotic animals part
ly in the hopes that the animal’s characteristics would be present in the fat and lend the desired quality to the one seeking remedy.
Many animal fats and even some of the vegetable oils were rendered with sweet wine or other alcohol to help eliminate any overpowering aroma. Particulary in regards to perfume making the method of rendering fats with wine was practiced so that there would be no undesirable odour to interfere with the resulting aromatic product.
Dioscorides Recipe For Rendering Animal Fats of Strong Odours (7)
Take a pound of bruised aspalathus (identified as Cytisus Lanigerus, Genista Acanthoclada, and Calcycotome Villosa). Steep this overnight in old wine. Strain out the herb and place in a pot with the animal fat plus three more pints of wine. Boil all together and when the fat has absorbed the wine, allow the whole mixture to cool. Once cooled, the fat rises to the top. Skim the fat off and store. To make an even sweeter scent add an ounce of myrhh infused in wine to the rendered fat. -Dioscorides II. 91 (*Original directions revised slightly for clarity by the editor.)
As you will see there are many other ingredients not mentioned in the preceding material that may be called for in some of the following recipes; for example, minerals, wine and beeswax. As these items are fairly self explanatory and / or only called for occasionally, they have been not given specific address here.
“Happy is he whose craft is that of a perfume maker.”- (Babylon- Kiddushin vs. 82B) In extracting the essence of a plant whether it be for its aromatic quality or its natural oils three basic methods were employed by ancient perfume masters. The first method used was pressing. First, the plant or fruit was crushed in a basin. The material was then placed in a clothe which was then wrung out to release its liquid essence. Likely, a great deal of plant material remained in the resulting extraction with this early method.
The second method is commonly known as “enfleurage” and is a practice that was widely used in 19th century Europe and still used today by some cultures. This was a process of cold steeping and most most effective when trying to attain the aroma of delicate florals such as rose. With this method the petals or plant material was place on a layer of fat (likely animal fat) and pressed between two boards for a time to allow their aroma to be absorbed. The old petals were then removed and replaced by fresh ones and this process was repeated continually until the fat possessed the desired strength of scent from the plant. This method was not suitable for many plants for obvious reasons, but it was a successful way to “imprison” more volatile essences for use in further recipes.
The third method was one used more as the craft of perfumery itself progressed in ancient times and was a hot steeping process. Similar to what we would term now as a “hot infusion” this method called for the maceration of the plant material in oil (commonly olive oil) which was then heated to about 65 degrees celcius in an ancient style of “bain marie” or double boiler. With this approach, the steaming water of the double boiler would gently heat the oil without the fragile plant material coming into direct contact with any high heat that could potentially evaporate the subtle essences so desired by the perfumer. Upon reaching the proper temperature, the material was then left to “steep” for a time and finally, the original plant materials were replaced with new ones and the whole process was repeated until the oil possessed the aroma of the plants employed. Often with this third method, and most particularly if a naturally strong smelling oil like olive oil was used as the medium of extraction; the oil itself was first “washed” or rendered with wine. Rendering the oil first would reduce its perhaps less virtuous qualities to make it more suitable for perfumery purposes.
A Modern Recipe for Rendering Vegetable Fat or Lard (Adapted from a recipe by herbalist Christopher Hedly(8))
Remove the vegetable lard from its container. Put it into a pan with twice its volume of sweet wine (port or claret may be quite suitable for this…). Heat the whole gently until the wine evaporates; as it does so, its sweeter scent impregnates the vegetable fat. Take care not to allow any scorching or burning of the fat as this will ruin the preparation. Watch closely through the rendering / heating process and when the wine is clearly evaporated, remove from heat, allow the fat to cool then store in a closed container.
Perfumed Recipes
*Authors note: Please be aware that my own recipes as given below utilize modern ingredients and methods which greatly simplifies the lengthy and complex processes used by the Ancient Egyptians. The drawback of course is that these modern recipes will not duplicate the original and authentic Egyptian methods however, they will at least partially resemble the pleasing and unusual aromas resulting from them.
Scent In the Sanctuary- Temple Aromatics
Manniche explains that for the ancient Egyptians the temple was a three dimensional representation of the world. (9) It was designed to create remembrance of the Gods and was of course a central focus for worship. Likewise, for the Pharoah as ruler of the nation, the temple rituals were even more important as they established the link between heaven and earth; of which the Pharoah himself acted as intermediary. Statues were important temple features and the ancient Egyptians believed (as did many cultures actually) that the spirit of the God or Goddess represented in the statue resided therein. For this reason, purification of the temple environment was not only observed, but fragrant offerings were made to the “Living Gods” themselves on a daily basis.
“…When they get up they instantly worship by burning incense of resin. Thus they purify the air with the secretion and revive the spirit which is inbred with the body and which has become enervated, the smell of resin having something violent and disturbing about it. Again, at noon when they percieve that the sun draws up by force from the earth a very large and heavy exhalation and mingles it with the air, they burn incense of myrhh; for its heat loosens and disintegrates the turbid and muddy mass which gathers in the atmosphere…Aristotle says that the fragrant breathes of perfumes, flowers and meadows are no less conducive to health than to pleasure, in that they spread softly with warmth and mildness through the brain which is by nature cold and congealed.”-Plutarch (10)
Scents were also a means of communicating with the divine; in fact, by its very nature and evanescence, scent was believed by the ancients to have come from the Gods themselves and therefore possessed spiritual or “magical” powers. Many scents were renowned for their magical properties in ancient Egypt as well as later on such as mandrake, lotus, poppy, and artemisia. For ritual worship, scent was employed in all three forms; in “smoke” that is incense, in oil, and unguent. As mentioned in the introductory materials, by the time of Ptolemaic Egypt, scents became important enough to inscribe on temple walls; the most famous inscriptions being those found at the Temple of Horus at Edfu. It has been noted by Egyptologists as well as later classical writers that there existed a book called “The Book of Unguents” or as called by Roman writers, “Cleopatra Gynaeciarum Libri” which was often quoted or referred to. This book has not survived time as far as is known but, many of the recipes we know of appeared to have been included in this ancient text by the reference made to it. Further, this book was believed to have been written by the most famous of the Ptolemies, Cleopatra VII, known to this day for her lavish use of scents and perfumes.
Of the recipes included at the Temple at Edfu the most sacred are called “the Seven Sacred Oils” which are given as follows with a basic review of their ingredients (11,12):
Festival Oil- fresh and dried frankincense, fir seeds, and other aromatics. Hekenu- nedjem, wood pitch, acacia, fresh and dry frankincense, and others. Sefet- a fir seed based oil and unidentified ingredients. Nesmen (Nekhemet)- wood pitch and pine with other aromatics. Tewat (Tua)- similar to festival with other resins and herbs added. Best Cedar Oil- nedjem, lotus, white frankincense. Best Libyan Oil- wood pitch and other unidentified flowers.
Two additions to this list were noted later and included also Madjet Oil and Moringa Oil. Manniche states that in fact, the actual list of “sacred” oils totals 10. These seven sacred oils were not always exactly oils however, many were more paste or unguent varieties. Compositions for a few of these particularly special preparations were given in Manniches work, but most were far too impractical to try to reproduce today. However, I have touched on some of these preparations to give an idea of how complex they were, and offered one or two ideas on a modern variety of my own making. Hekenu oil was one of the seven oils given much attention by Egyptian researchers because it took almost a full solar year to complete this one perfume. So you can imagine the time consuming processes involved. The curious thing about Hekenu Oil was its inclusion of a most enigmatic ingredient referred to as “nedjem” which to this day is up for debate as various theories are set forth on what precise botancial this nedjem is. Some authorities liken it to carob while others to the acacia which was native to Egypt in ancient times. Yet the whole recipe is based upon the extracted pulp of the seeds of this mysterious plant. The basic ingredients for Hekenu have been given above.
Another of the seven addressed by Manniche is called Madjet, one of the later additions to the original sacred seven. It was, as all perfumes were in their most earliest form, used for funerary rites but over time became a daily offering at the temples. There were two varieties Manniche refers to, one for everyday and one for special occasions. It appears they both were basically composed of the same materials which included the enigmatic “nedjem” mentioned earlier, lotus, and francincense as well as pine resin and kernals, cyperus grass, juniper, cinnamon, and “antiu” which I liken to myrhh from what I have researched but is not authoritatively accepted as such. The whole recipe was based on animal fat as a base and theoretically took nearly two years to complete as the animal had to be ritually prepared for one year before it was slaughtered, then another whole year had to pass for the storage of the fat of the animal itself which was kept sealed up in a special room for its later use. Once all was in place, the next step was to add wine macerated aromatics to the animal fat and let it meld. Then the wine was discarded and the soaked herbs and fat were boiled together. The resulting mix was then dyed with “nest” which is believed to have been al-khanna to impart to it a rich red color. The result was a fragrant and red perfume paste.
My Version of Madjet with Modern Day Additions:
In my own making of Madjet oil I have included ingredients not used in the original recipe as well as my own methods of process. This is due to the fact that there are ingredients called for not as yet rendered with a modern day equivalent and so I added items that I feel impart a similar aromatic quality. My goal in offering these modern versions is not so as to replicate the authentic methods as this would be very impractical, but to simulate the unusual fragrances resulting from the botanicals used.
For this recipe you will need 4 oz. of olive oil, 1 oz. of avocado oil, about 2 tablespoons worth of beeswax, one cup of sweet red wine, 1 cup of sweet raisins. For herbal matter you will need 2 cinnamon sticks broken up, 2 tablespoons juniper berries lightly crushed, and 2 tablespoons of myrhh resin. For essential oils you will need cinnamon leaf or preferably cassia, lemon grass, hemlock, juniper, fir needle or better yet- cedar; also, rosewood and myrhh.
There are two processes involved. First, you will gently heat the raisins in the wine just until it reaches very warm but not boiling, (about 3 minutes). Then strain them and let them dry a bit so that they are not totally wet through. Then, take the raisins and put them in a non-aluminum pan with the olive oil and bring to high heat. Do not boil to scorch them but get it hot enough to help facilitate their essence being imparted to the oil. Once hot, remove remove the raisins and add the rest of the plant material mentioned. Heat up again so that the herbs warm and then remove from heat, pour all – herbs included into a glass jar and cover. Let this steep about 2 weeks. Once the infusion is complete, strain off the herbs and melt the beeswax on medium heat also in a non-aluminum pan and then add the olive oil infusion as well as the avocado oil. Let warm so that all is melded together and once it is combined and liquid, remove from heat. Let this cool so that the oils and wax are not hot yet still retain a liquid state. You do not want it to solidify at this point and if it start to do that just put the whole thing back on the heat long enough to bring it back down to a liquid. At this point the oils and wax should be warm but NOT HOT. Now you can add in the essential oils as follows: 10 drops cassia, 5 drops lemongrass, 8 drops juniper, 8 drops hemlock, 8 drops pine or cedar, 8 drops rosewood, and last 8 drops myrhh. You may want to increase or add more of each to your own liking. The whole should still be liquid and now pour into any wide mouth jar or container or slip tin and you have Madjet.
To color this by the way – you will first need to make an infusion of
alkanet in oil such as grapeseed or sweet almond. You can heat the oil a bit, add the alkanet and allow that to steep for the same 2 week period as the other part of the recipe given. Add the alkanet infusion before adding the essential oils. Bear in mind that the more oil you add, more wax is needed to keep the resulting product thick like a paste or unguent. Many oils and unguents were also considered sacred in their own right but not included in the list (obviously) of the “Seven Sacred Oils”. One of note was called “Secret Min Unguent” and was dedicated to the worship of the God Min-Amun. This recipe called for sweet flag, pine kernals, juniper and other obscure herbs not yet identified. This recipe was unique in that it also called for the addition of minerals such as lapis, carnelian, red jasper, turquoise, gold and silver. I have prepared some things with mineral additions and although a pricy thing to do today, they do make for a very colorful and exotic preparation! The most renowned of the perfume recipes without doubt however, was that of the “Kyphi” perfume still known and made today; albeit with many different recipes being used. Interestingly, Kyphi was the one aromatic perfume that was entirely based on wine, honey and fruits and included no fats or oils in its preparation.
Kyphi
Manniche clarifies that the actual Egyptian word for this perfume was “kapet”; the word kyphi itself was a latin rendering from a Greek translation. The original recipe for kyphi was given on the walls of the Temple at Edfu. The following is one rendered from the original Egytian version as taken from Joann Fletcher’s text. (13)
“Take 9.5 oz. of sweet flag, aromatic rush, pistacia resin, cinnamon, mint, aspalathos and grind together then sift and reserve the resulting powder. Take 9.5 oz. of ground juniper berries, cyperus grass, [?], [?] (unidentified) and add this and the powdered herbs to twice the measure of sweet wine and let set overnight. Seperate the wine soaked powder and herbs and drain off any excess liquid. Take 4 lb. raisin and 5 lb wine and and grind together. Sieve this and put in a pot with the earlier mixture. Let sit together 5 days. Mix 2.5 lb. of frankincense and 3 lb. honey and boil until thick and reduced by 1/5th its volume. Mix this honey mixture with the first herbal mixture. Let this sit another 5 days. Lastly add 2.5 lb of ground myrhh. This is kyphi.”
Fletcher offers a modern day version of kyphi which has been revised slightly for convenience here. (14)
“Take 3 oz. tincture of bullrushes, 1 bottle red wine, 8 oz. chopped raisin, 2 oz. myrhh, 2 oz. juniper berry, 1 oz. more myrhh blended with 2 oz. frankincense, 2 oz. ground orris, 1 oz. lemongrass or lemon scented geranium. Put all together in large screw top container and let meld 5 days. Strain the residual wine and reserve. Mix the soaked herbs with 6 oz. of honey and 2 oz. of crushed frankincense and heat until thick. Add back in the reserved wine liquid, bottle and store.”
An easy aromatherapy version of Kyphi Perfume
Take 4 oz. unprocessed thick honey (it is solid like a cream and not clear); melt this in a pan with 1 tablespoon of wine, let the wine evaporate out by simmering low. Then add 1 tablespoon sweet almond oil and 1 tablespoon beeswax. Let all melt and liquify then add 1 tsp. ground orris, 1 tsp. mastic, and 1 tsp. each frankincense and myrhh. Remove from heat and let cool a bit so it is not extremely hot but still warm and liquid and add the following essential oils by drop count:
8-cassia, 6-lemongrass, 4-geranium, 5-cardomom, 6 drop each juniper, frankincense, myrhh, 10 drops rosewood. Pour into wide mouth jar and seal. It will remain thick and creamy.
Famous Egyptian Perfumes
Compound Oils
There were several famous oils known to be used throughout ancient Egypt. They are still recognized and some are produced today in modern renditions based on the early formulas. Unfortunately, many of these compound perfumes (containing several processes and ingredients) include material yet unidentified by Egyptologists and are near impossible to reproduce accurately. The following list includes the more notable varieties of compound perfumes; some that are given following have modern alternatives for making a composition similar to that of the orginal using modern ingredients.
The Egyptian- The most famed of the perfume oils made predominantly with cinnamon and myrhh. It has been confused with another popular scent known as “Mendesian” but apparently it is in fact its own unique preparation hence, they are not one and the same thing.
Mendesian- Similar to the Egyptian but made with balanos oil infused with wine soaked herbs like myrhh, resins, and cinnamon. Later recipes used almond oil.
A Modern Day Mendesian Oil
Take 4 oz. sweet almond oil and heat with ground myrhh, cinnamon and cardomom. Add to it laudanum and benzoin resins. Let simmer about 1 hour gently over low heat then remove. Strain out the herbal matter (note that some particles will remain here) and add essential oils to the cooled oil as follows by drop count:
5- wormwood (artemisia absinthium), 8 ea. cassia, cedar and myrhh. Pour into bottle and stop shut.
Metopion- Also called galbanum perfume was a heavy resinous scent that had myrhh overtones. Dioscorides version called for almost a dozen different ingredients including omphacium, the thick green oil from unripe olives discussed earlier. The following is a modern day version using essential oils:
A Modern Day Metopian
In 1 oz. sweet wine add 1 tsp. peru balsam, 1 tsp. galbanum resin and put over heat and let simmer until reduced by half. In a non-aluminum pan melt 2 tsp. beeswax with 2.5 oz. sweet almond oil. Add the balsam wine mixture and 2 tablespoons honey. Let all meld and liquify and let cook over low heat until well incorporated. Remove from heat, allow to cool a bit and add essential oils as follows by drop count:
10-cardomom, 8-bitter almond, 10-sweet flag, 12-myrhh. Incorporate and pour while still liquid into a container where it will thicken and solidify.
Susinum- Also called “Susinon” it was the famous lily perfume that called for no less than 2,000 lilies by some accounts. Dioscorides recipe in addition to the lilies required balanos oil, myrhh, sweet flag, cardomom, iris, wine, cinnamon and honey.
Cyprinum- Henna perfume as presently defined although there is some debate on this. Henna flowers themselves are rather fragrant and they were often macerated in oil. Pliny however records using the berries or seeds rather than the flowers. Other ingredients included olive oil, cardomom and southernwood. A simple infusion of the flowers in oil done repeatedly could produce a simple henna fragrance.
Sampsuchinon- Another famous compound perfume based on sweet marjoram. Some authorities also include oregano oil as a possible ingredient. Both Dioscorides and Pliny recorded their own versions that had numerous other ingredients added as well. This perfume is believed to be dedicated to the crocodile God Sobek.
Joann Fletcher records a modern version based on the original in her text which calls for thyme, cinnamon, southernwood, nasturtium and myrtle. She recommends grinding these and the marjoram together than simmering in almond oil and honey to make a paste.
A Modern Day Sampsuchinon:
In my recipe I use artemisia absinthium which is very similar to southernwood and also in the artemisa family.
Take 1 tablespoon honey and 1 oz. sweet almond oil. Simmer this with 2 tablespoon ground orris root. When the mixture is liquid remove from heat and add essential oils as follows by drop count unless otherwise noted:
1/2 teaspoon peru balsam, 6-cedar, 6-cassia, 6-wormwood, 4-sweet flag, 10-marjoram, 4-myrtle.
Simple Perfume Oils:
Many oils were prepared also using simple infusion methods. These included oils of rose, sage, lotus, lily, fenugreek, cinnamon, cumin and juniper among others. Today, these are all available in a much more potent essential oil form. The essential oils can be added by drop to a carrier oil such as grapeseed or sweet almond to make an aromotic simple perfume oil.
To Make A Simple Infusion:
Infusions can be made both hot or cold in similar fasion. A cold infusion is macerating about 3 ounces dried plant matter to a pint of oil and letting it “steep” about 3 weeks. A hot infusion is the same proportions but placing the herb and oil in a pan and simmering at lowest heat about 3 hours. When complete- strain out the herbs and bottle the oil. See this link for more on INFUSIONS.
Additional Recipes
The recipes belowI have created and prepared myself and have been inspired by my own research on ancient Egyptian practices among other related studies. To see a complete review of various perfumes as well as cosmetic recipes you can make for yourself, please contact me about getting a copy of my self published working manual for cosmetic applications that you can purchase from me directly and will be available after June 2002.
A personal perfume:
This is a perfume I make for myself in various ways. It suits my scorpio self quite well and contains many aromatic oils.
Blend in a glass bowl 2 oz. almond oil, 1 and 1/2 oz. avocado oil, and 1/3 oz. wheat germ oil (approximate). Avocado oil can be cloudy especially at cooler temperatures so you may want to gently heat it first to clarify it before adding. To the mixed oils add the following essentials oils by drop count:
10-cassia, 8-cinnamon leaf, 8-rosewood, 8-cedar, 6-hemlock, 8-ylang, 4-nutmeg, 4-sweet orange, 6 patchouli, 8-rose absolute or attar. Funnel into a bottle and let sit for at least 1 week before use.
A lovely unguent: Take 2 tablespoons beeswax and melt in a non-aluminum pan. Add to this 1 tablespoon cocoa butter, 2 oz. almond oil, and 1 oz. olive oil. Heat until all is liquified but do not boil or overcook- you simply want everything melted and blended. Remove from heat and allow to cool down but not to the point it starts to solidify. This is an important step because if you add delicate and volatile essential oils to a hot base they will quickly evaporate out which weakens their strength and aromatic qualities. Once cooler but still a warm liquid add to this 16 drops patchouli, 4 drops hemlock, and 20 drops lavender. You may desire to add more of whatever to your own liking. Pour into a container and it will solidify. Bear in mind once it is cold and you attempt to smell it straight from the container you may think there is no scent. This is not so. Take some and apply to your wrists, neck or anywhere for that matter and you will discover the pungent fragrance is suspended in the solid matter and released upon contact with the warm skin of the body.
A witches perfume: This perfume must be started on the eve of the new moon and will be finished on the day of the full moon. It possesses strong psychic energy which will open a greater intuitive knowing and wisdom. Hence, the term “witches” perfume to connotate the wisdom that all witches possess.
You will need to gather to prepare this recipe enough opium poppy petals and seeds to equal a four ounce weight, 1 vanilla bean, 1/2 oz. dragons blood resin (see herbal information previously about this resin), 1 oz. ea. frankincense and myrhh resin, 1 oz. dried mugwort, 3 crushed whole nutmegs, and one crushed cinnamon stick. Place these in a blend of 3 oz. castor and 3 oz.sweet almond oil- a total of about 6 oz. oil, perhaps you may want to add a tad more. Let this infuse covered on a window that gets moonlight through to the eve of the next full moon. (About 28 days or so usually.) The day of the full moon, strain out the herbs and add the following essential oils as given by drop count:
8-lemongrass, 6-balsam, 8-benzoin resin, 6-sweet orange, 6-bitter almond, 9-wormwood (artemisia absinthium), 7-hemlock, 5-juniper, 6-cassia, 9-patchouli, and 15 drops rose attar or absolute.
If you have access to any moon flowers and datura flowers that you can fresh pick your self, you can make a seperate infusion of these in a bit of almond oil and add this in before the essential oil. However, you must pick them yourself at dusk or evening hours, place them in the oil and remove early the next morning or anytime after midnight. Repeating this process will result in a stronger scented oil. These flowers are gorgeous but only are fragrant in the evening. During the day they can actually smell foul so do be sure you can select these blooms yourself at the proper times.
For a medicine man: I prepared this for a very old and very wise “nagual” from the Yaqui tribe several years ago. It was very beautiful and potent (and well received). It is a solid variety of perfume that is suitable for wearing and anointing.
You will need to get salvia apiana, (white sage) 4 tablespoons crushed, 1 oz. each garden sage, marjoram and orris root and infuse in about 4 oz. of oil. If you want to use a tad more herbs then add them how you see fit. Let this infuse for 4 weeks. Strain out all the herb. In a non-aluminum pan melt 2 teaspoons beeswax and 2 teaspoons cocoa butter and add the infused oil. Heat until all is melted an liquid. Remove from heat and let cool a bit so it is not extremely hot but still warm and liquid. Then add the essential oils given by drop count:
8-sage officinalis, 4-geranium, 10-clary sage, 7-petit grain, 4-black pepper, 4-cassia, 8-vetivert, 4-bergamot or neroli, 4-ylang, 8-rosewood, 8-cedar, 9-sandalwood, 12 rose attar or absolute.
A special hair oil
This oil is especially suited to hair and is best applied warm as a hot oil treatment. It must be infused at least one month for best results on the hair.
You will need a sterile clear glass wine bottle or other similar bottle of same size. You will need the following dried herbs: 4 each dried lavender stems with flowers, 4 dried rosemary sprigs, a small handful of fresh pine needle, and 3 sprigs of dried sage. Slide these whole into
the bottle. Take enough jojoba oil and pour into the bottle to reach a bit more than half way. Add wheat germ oil in to fill the bottle about 3/4 full. Add a tablespoon of crushed juniper berries. Add essential oils given by drop right into the bottle as follows:
10-rosemary, 8-clary sage, 8-juniper, 10-spikenard, 12-lavender. Stop the bottle and shake vigorously. Let infuse at least one month and shake the bottle again in the meanwhile as well. When the infusion is complete the herbs can simply remain in the bottle and you pour out some of the seasoned oil to apply to hair as an oil treatment. Leave treatment on at least 30 minutes or overnight if you can, then wash out. With repeated use it will feed, strengthen and nourish the hair and scalp beautifully.
An excellent exfoliating face mask
Using a coffee grinder grind up about 1/4 cup steel cut oats, 3 tablespoons each dried lavender and rose petal and 1 tablespoon elder flowers. Blend all together and store in a sealed glass jar. (You can make larger amounts if you like as well since the mask itself is done on the spot.) When you want to apply the mask, simply mix the herb/oat blend with warmed milk and honey until it forms a paste and apply this to clean skin. Let remain at least 30 minutes then rinse off. You will love how this works on your skin!
Closing Remarks, Resources, Notations and References For Further Study
The process of perfumery, and particularly that as practiced by the ancient Egyptians, is a vast and complex subject of which this material offers only a brief overview in comparison to the numerous new finds, new ideas, and material regarding this area of study. The goal of this author was to present some solid botanical information as reference as well as provide some recipes and resources for those interested in perfumery and cosmetic arts from an herbal perspective. This material was in no way intended to be scholarly oriented rather, set forth for the personal student so as to find out more information.
The author of this feature is indebted to the many renowned Egyptologists whose work she has studied as well as many other notable authors. Please see the following notations as well as the extensive RESOURCES listings for this feature that provides many, many excellent texts for further study.
As mentioned in the body of this portion of the feature (see additional recipes above), the author has a manual of cosmetic and perfume applications which will be available for purchasing direct after June 2002, (and eventually online as well). Also, the author is a practitioner of herbal arts and can prepare custom herbal scents based upon ancient aromas and methods. To obtain either the writtens materials or product services described contact: AUTHOR. For Excellent Herbal Supplies and Raw Materials- See:
Mountain Rose Herbs
The best place for RAW herbal materials for making remedies and cosmetic applications. Most all certified organic. Excellent quality essentials for perfumery as well as exotic butters and sundries.
For Excellent Fragrances, Bulk Oils and Soaping Materials- See:
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