Museums Unveil “Scent of Eternity” in Ancient Egyptian Exhibits

Scientists have made significant strides in understanding ancient Egyptian embalming practices by identifying the complex compounds used in the balms for mummification. In 2023, a study revealed that these recipes included ingredients not native to the region, prompting researchers to collaborate with perfumer Carole Calvez to recreate what co-author Barbara Huber described as “the scent of eternity.” This innovative approach aims to enhance visitors’ experiences at museums featuring Egyptian exhibits, fundamentally changing perceptions of embalming practices.

The exploration of Egyptian embalming techniques dates back to the Predynastic Period, when early Egyptians discovered that the dry desert climate helped preserve bodies buried in the sand. As cultural practices evolved, the need for preservation integrated into religious beliefs, leading to more sophisticated methods. Initially, bodies were laid on tables, and internal organs—except for the heart—were removed. According to Herodotus, the process involved extracting part of the brain through the nostrils and injecting drugs to liquefy the remaining matter. The cavity was then treated with spices, palm wine, and filled with aromatic plants, including bags of natron for dehydration, which typically took around 40 days.

Historical texts, notably The Ritual of Embalming and Herodotus’s Histories, provide limited details on the specific ingredients used in mummification. Recent advancements in biomolecular analysis, including gas chromatography, have provided new insights. For instance, a 2018 study utilized gas chromatography-mass spectrometry to analyze organic residues from mummy wrappings, uncovering a rich mixture of plant oils, aromatic extracts, and resins.

In her recent research published in the Journal of Archaeological Science, Huber focused on the balms used for embalming organs stored in canopic jars. The analysis revealed residues including beeswax, plant oils, and conifer resins, leading to a unique fragrance profile that balances a strong pine-like scent with sweeter undertones and smoky notes from bitumen. This scent composition has been articulated in Huber’s latest paper in Frontiers in Environmental Archaeology, which outlines methods for museums to incorporate scents into exhibits.

To implement this olfactory experience, Huber and her team established a collaboration with perfumer Carole Calvez, who crafted a scent suitable for museum environments. Calvez emphasized the creative challenge, stating, “The real challenge lies in imagining the scent as a whole,” highlighting the need to translate scientific data into a cohesive sensory experience that captures the complexity of ancient materials.

Two primary methods have been developed for introducing these scents into museum settings. The Museum August Kestner in Hanover, Germany, features a portable scented card as part of guided tours, allowing visitors to engage more intimately with the artifacts. Meanwhile, the Moesgaard Museum in Aarhus, Denmark, has installed a fixed scent station that has transformed visitor understanding of embalming practices. Curator Steffen Terp Laursen noted that incorporating scent adds “an emotional and sensory depth that text labels alone could never provide.”

This groundbreaking approach not only enhances educational experiences but also creates a new way to engage with ancient cultures. By bridging the gap between science and sensory experience, museums are redefining how historical practices are perceived and understood.

The ongoing research into ancient Egyptian mummification continues to shed light on the methods and materials used thousands of years ago. As museums integrate these findings into their exhibits, they invite visitors to explore the rich tapestry of history through both sight and smell, creating a multi-dimensional experience that honors the complexities of the past.