The miracle of blood
Rome, year 305 A.D. The Roman Empire faces serious problems, and the Emperor Diocletian is trying to prevent disintegration. Even at the cost of very unpopular measures. He tries to unify the empire on all fronts. Among other things, it will also harm the Christian community, because in a stubborn effort to unite everything, including religious thought, one of the last great persecutions of Christians in the Empire occurs only 8 years before the Milan Edict is enacted and converts the whole Roman Empire to Christianity.
Campania, 19 September 305. The area of the Roman Empire around today’s Naples. Governor Timoteos will round up part of Christians headed by their local bishop Januario to Nola. They were thrown to lions in the arena. But when the beasts miraculously calm and did not want to attack the convicts, the decision was changed and poor souls beheaded. Their faithful followers will bury them near Puteol, but before that, one extraordinary devout Christian named Eusebia would capture Januarius’ blood in a vessel. Around the 5th century the remains were transferred to Naples, where he is considered the patron saint of the city.
Naples, late 13th century. The city is under the rule of the Anjou and Charles I. decides to build a cathedral. It was not completed until the beginning of the 14th century under his successor, Robert of Anjou. The relics of St. January and the vial with his blood. In 1337, the Bishop of Naples, Orsini, introduced festivities to celebrate the city’s patron saint. And in 1390 a miracle was recorded for the first time in writing. More than 1000 years old blood in vial has been liquefied.
Since then, the miracle of liquefaction has been held regularly, three times a year. The relic is always presented on September 19, the anniversary of the death of the saint, December 16, the anniversary of the sanctification of the temple and the first Saturday of May. Neapolitans believe that if blood does not dissolve, it means an impending disaster. And indeed. There are only 3 cases where it has not been liquefied on these particular occasions (moreover, it is sometimes shown when the Pope visits, then it sometimes liquefies, sometimes not and sometimes partially, but this is not associated with the fate of the city.) When it did not drip in 1528, the sea came, when it did not drip in 1980 the strongest earthquake in the city’s history came, and when it did not drip in 2016, Menditorossa released its flagship Osang a year later. I’m not suggesting anything…
In that smell it’s all…
Stale catacombs, sweaty hay, smell of destruction, stale of medieval times. Blood, old red wine, disinfection. An olfactory picture of an overcrowded old temple, conserved relics, priests in starched albums that show a miracle, or a “miracle” of the crowd, made up of partly eager and partly frightened believers, entwined with tourists with panoptic expectations. Fears, exhaled air, sweat, fear and curiosity, faith and skeptic mockery, the power of the moment. The original flacon depicted the bust of the bishop, the new one is more abstract, but more interesting, and the shape of the bishop’s mitre has been preserved in the form of a cap. There is also a red ball in the bottle pointing to the miracle of liquefaction. Serge Lutens would do something like this, if he had the guts. In any case, interesting and… decadent.
Le Mat is another fragrance of the Talismans collection. The name of the fragrance points to the wild card of Tarot, a fool, or a joker, the only one not even assigned a number that can turn out in any way, by a steep fall into the depths, or even a big victory, it is a risk card. And what is the smell? A little Christmas spice at the beginning, before it enters familiar waters. Combination of Aqaba Classic (especially rose) and The Sands of Aqaba (mainly honey) in a very dense combination. Warm, dense, shiny-gold. Honey and resin completely flood the dense velvet dark red, almost waxy rose. It holds on probably forever.
Nettuno, or Neptune, is a surprisingly surprising sea scent. Not so surprising is the theme, surprising is the design. Nutmeg, ginger, in a very strange to contradictory combination with a watery chord, continue with strong tones of a rotten algae, salty tones of vetiver, and driftwood. An interesting start, a very faithful ending.
Sirius is obviously a planet full of fruit. Very edible aroma, first freshly sliced red apple, flesh plum, then apple with plum in sweet honey oriental tones, then the oud in the background becomes noticeable, creating on the one hand a tinge of sort of destruction, on the other it has a certain erotic charge.
The latest fragrance comes with a quote from Ludwig Wittgenstein “Talent is a source always springing with new water “and with a small piece of thorny rose stem on the bottle. And it seems to take it from that quote. Water, certainly. It’s there. With melted Samaritan and a little mint in the background. Not much of rose. Actually the thorn stem is there, rather than the flower. Only after a relatively long time on the skin does something appear that could be called a little ground dried roses. In combination with stronger mineral-water tones it is quite unique.
Citrus, but not as we normally know, but thoroughly ripen on the tree until almost sweet natural lemons. In addition, floral and oriental tones with soft sandalwood and a little oud. It reminds me a bit of Ahimbak from Ajmal, but paradoxically a little more oriental.
In addition to the above-mentioned Talismans collection, which includes what I would call “great scents” of the brand – and extremely concentrated, Menditorossa also has the Odori d´Anima line, in which are fragrances with a lower concentration and somewhat wearable design. So just briefly.
Introduction – a distinctly Indian feeling, ravinsara reincarnated – a bit oily, a little light green, a little eucalyptus – the saffron that adds even more to the oriental, shifting into soft woody and sandalwood tones.
Beautiful iridescent-leather fragrance with a pinch of violets. Smooth and soft as the finest suede sprinkled with a fine powder.
Here the ravinsara is more sweetened, especially with nutmeg and cinnamon. The next comes a floral component, iris, violet, only slightly indolic jasmine, though they are, as is customary in this brand, embedded in resins. But milder than usual. Patchuli and a pinch of oud add depth and versatility. And a little bit of my otherwise mostly unpopular ambroxan with vanilla gives it softness and warmth.
The Duo Line
Saline-aldehyde introduction, a hint of disinfection, sharp, wet and cold. Gradually gently warmed with nutmeg.
Gentle basil-herbal tones and transparent flowers form an interesting light combination.
Time without me Line
The thing that other indie brands serve as a winter forest. Fir balsam with incense. Something like Good Fir from Krigler, but in the opposite guard: more incense, less conifers. Then very unusual water tones, salty to the end. Unusual combination.
Rather feminine fragrance. Floral tones, especially narcissus. To some extent, it resembles a vintage narcissus from Chloé – Karl Lagerfeld, but with a stronger aldehyde tone and a little lavender.
Bitter citrus sweetened with ripe pear, passes into something sweetly known – Mon Guerlain with fruit.
Wonderful freshwater tones with a very fine and airy incense flying around. Water and air, the smell of movement, carefree freedom.
And what is really beautiful is that the brand has not fallen into the modern – and cost-seeking – trend of unified flasks, but each perfume has its own, which are works of art in their own right.