Whilst I was writing up my PhD Scented Visions: The Victorian Olfactory Imagination, I had the amazing fortune to be able to live onsite for a year at The Watts Gallery in Surrey, the wonderful time-warp gallery dedicated to the Victorian artist G. F. Watts. One day, I was viewing the paintings with my friend (the Assistant Curator) and one of the Elders of the gallery - a patron or a trustee, I forget - who I had met for the first time that day. As we came to Watts’s painting Eve Repentant (one panel of a triptych) my dear friend announced, “Christina has a very interesting theory about this painting....” Now this was acutely embarrassing to me, because I only have one tentative theory about this painting and it is that the chestnut leaves in the paintings may be a veiled allusion to the smell of semen - and thus to Eve's shame. The idea had come to me after I had found a few mentions in Victorian books on fragrant plants about Chestnut trees having this smell. Having joked about this to my friend, I was now in the unexpected position of having to relate this charming piece of information to this rather Victorian gentleman!
I seem to have a strange fascination for plants that have a human smell. For example at the Eden Project, you can currently find flowering The Titan Arum, often known as the Corpse flower because, when it finally gets around to flowering (it takes about 13 years), it stinks like rotting flesh. The Gingko tree apparently smells of vomit. Then there is Phallus Ravenelii – the Common Stinkhorn - a toadstool that smells of faeces. The phallus part of its latin name apparently comes from the fact that the stalk is supported by pressurized fluid rather than solid tissue, in a manner similar to an erection - well that and the way it looks, obviously! Apparently, Charles Darwin’s daughter Etty wished to protect the modesty of her maids by going out in to the nearby woods, ' nostrils twitching' on the hunt for these stinking phalluses! When 'she caught a whiff of her prey' she would pounce 'upon her victim and and poke its putrid carcass into her basket' before burning it in 'deepest secrecy, on the drawing room fire, with the door locked.' Gwen Raverat, Period Piece (1952).
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