Article
Culture
Psychology
Weirdness
5 min read

Why smell jumps the queue when it comes to memories

Smells hardwire deep into the brain, writes Henna Cundill, as she explores why they jump-start such vivid memories.
An autumnal scene of a church yard and church framed by leafless trees.
'The smell of dust and damp stone will always cry “safety!”'
Jakub Pabis on Unsplash.

When I was a 22-year-old undergraduate my mother died quite suddenly. I can't remember the name of the undertakers we used, nor the chaplain who took her funeral. I can no longer visualise what any of their faces looked like. I know I visited the chaplain’s house to plan the funeral, but I can't remember exactly where that house was. What sticks is that the day of the funeral was a sultry summer's day, and both the chaplain and the undertakers smelt of perspiration. To this day there are moments where I catch that same whiff of man-sweat in some other location, and for a fleeting second, I am a bewildered 22-year-old once more. 

Here is another memory. I attended a tiny, rural Church of England primary school in the middle of England. At the end of each school year, all of us donned our little Wellington boots, which smelt faintly of slurry (since this was dairy-farming country) and sweaty feet. Then we lined up in a crocodile and trudged through the bluebell-wood (damp leaves) and skirted the edge of fields (silage, which stings the nose) covering the mile or so between our school building and the village church. 

We would enter the church grounds through the back field, hurrying through an eerily muffled graveyard with tombstones towering far above our heads and the grass disturbingly lumpy beneath our little feet. To the chidings of “Quickly!” and “Quietly!” we children scurried down a gravel path, away from this unsettling place of death, to reach the cool sanctuary of a little church, and the comforting smells (for me, at least) of damp stone and dusty hymnbooks. 

Others may not have the same associations, but for me the smell of dust and damp stone will always cry “safety!” and the reassurance that “there are no ghosts in here!” in contrast to that troubling graveyard. From death to life. Yet, at the same time, getting stuck with my nose close to some man’s whiffy armpit on the Tube will forever insinuate that I am just a child pretending to be a grown-up, out of my depth, overwhelmed with one thousand decisions to make (“What flowers do you want for her coffin?”) and no-one to advise. In the midst of life, death again.  

On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances.

Of course, I am not 22 years old and lost anymore, no matter what that man’s armpit tries to tell me. My rational mind knows better, but my rational mind doesn’t get a say – or doesn’t get the first say anyway. This is because smell is the only one of our senses that bypasses the thalamus (the brain’s ‘filtering gate’ that decides which part of the brain needs to respond to sensory input) and goes straight to the limbic system, where emotional memory is stored.  

Sometimes it is very obvious that this is taking place, such as in the examples given above. On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances. But it can happen in more subtle ways too. Supermarkets infamously pump out smells to influence our buying choices, and we’re trying to sell our house right now, so we’ve been brewing a whole lot more coffee than we ever usually would.   

Intriguingly, scientists don’t really know why the human sense of smell jumps the queue when it comes to cognitive processing. There are biological theories, such as that the smell of predator could wake up our ancestors while they were sleeping and/or could allow them to follow a scent trail quickly when fleeing danger or seeking food. There are social theories too, such as that we don’t have a lot of good words to describe smells, so the brain just doesn’t bother trying to analyse them. Whatever the truth of the matter, the reality is that (whether we like it or not) our noses are an emotional trip-hazard.  

When I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. 

I can’t help wondering what this tells me about my religious practice. Do I go to church because I have made a cognitive decision to worship God each Sunday? Or do I go to church because I am following my nose, getting away from a world full of armpits and responsibilities to a place where I am a seven-year-old girl, all gingham dress and wellies, feeling safe. If so, does it matter?    

Truth is, my mind can give me a dozen reasons not to go to church every single week. In fact, two dozen reasons. More. It has always been a busy week; I’m always behind on work. The house always needs a sort out and the car is never washed. But because certain congregation members are normally counting on me for certain things, and because I’m still pretending to be a grown up, I typically drag myself out the door, and off to church I go.  

And week on week, without fail, when I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. My body registers this before my mind; my shoulders drop a little of their tension. Even if it’s just for a fleeting moment, I start to feel that I know for sure what is absolutely real in my life and what is just pretend.  

Is this knowledge irrational – since it doesn’t come from the cognitive part of my mind? Or is there a God who knows that the cognitive part of my mind sometimes tells me all sorts of untrue and unhelpful things. Is there a God who is choosing to reach out to me in more subtle, more ancient ways?  

I can only wonder if I have been following my nose all this time, without even noticing. Drawn along by an ancient scent trail that leads me time and time again…this way…and that way…until I reach a place where there is safety, and bread. 

Review
Art
Culture
Joy
Suffering
4 min read

Carving joy and suffering – what Donatello’s sculpture captures

The pioneering sculpture of Donatello presents emotional urgency. Sara Schumacher reflects on his art.

Dr Sara Schumacher is Academic Dean and Tutor and Lecturer in Theology & the Arts at St Mellitus College.

A relief sculpture shows the Madonna hold the infant Christ close to her face.
Donatello's Virgin and Child (Pazzi Madonna) sculpture.
Donatello, CC BY-SA 4.0, via Wikimedia Commons.

As the weather turns and trees take on their sheen of green, with the seasonal change comes the major spring exhibitions in the nation’s museums. Running from 11 February – 11 June 2023, the Victoria & Albert Museum are hosting a significant exhibition of the work by the Renaissance master, Donatello. Donatello: Sculpting the Renaissance traces the sculptor’s life and career, introducing us to his artistic collaborators as well as tracing his legacy within Western art history. A summary of the exhibition has been well described elsewhere and the curators do a fine job of providing context for the viewer that allows one to understand the significance of Donatello’s work. Instead, in this article, I want to try and capture what is felt in what is seen for I think Donatello, in his subject matter and style, is able to hold in tension the paradox of joy and suffering. This paradox is an all-too-common human experience, something that has been explored as Christians journeyed together through Holy Week. While Christian theology has a way of helping make sense of why this paradox exists, art has a way of helping us all to process our lived experience of it.

Through sculpture in different forms, Donatello invites our bodies, through movement and posture, to engage with what or who is presented.

As the exhibition shows, Donatello is famous for being the first in the Renaissance to sculpt a free-standing form. Sculpture, especially free-standing sculpture, requires something of the viewer. In order to see it properly, you have to position yourself in relation to the work and move around it. And while Donatello was clearly a master at this artform, what he invented was rilievo schiacciato, meaning ‘squashed relief’. The stone or bronze is carved with only a few millimetres of depth. In a way, it is like ‘painting’ with stone or bronze, and in doing so, the two-dimensional and three-dimensional are fused. As you move around it, light refracts off the medium, thus highlighting different aspects of the work and changing what you see. Put another way, through sculpture in different forms, Donatello invites our bodies, through movement and posture, to engage with what or who is presented. This embodied connection can start to cultivate empathy as we place ourselves and identify with who or what we see.

The touch of human to human is so real at times that the bronze or stone seems to give way to soft flesh.

Donatello’s work also evokes empathy in the way that he sculpts the human form. In his work, the touch of human to human is so real at times that the bronze or stone seems to give way to soft flesh. This is at its most poignant in the multiple Virgin and Child sculptures displayed throughout the exhibition. And it is here, particularly in the Virgin and Child (Pazzi Madonna), where the paradox of joy and suffering is presented most evocatively.

It is not uncommon to see artistic renderings of the Virgin and Child where distance is held between the two forms. Sometimes, the child looks out at the viewer, away from his mother, inviting devotion through his gaze. In other depictions, the Virgin adopts a posture of worship before her son. The reason for this is theological: the visual divide was a way to bring to the fore the divinity of the human Jesus. However, what we find in the Donatello renderings is something different.

In the Pazzi Madonna, using his trademark schiacciato, Donatello presents a sculpture of emotional urgency. Instead of distance between Virgin and Child, we see a mother who has her face pressed up against her son’s. While the child has a look of contentment and the beginnings of a smile, the mother looks at her child with intensity, marked by sadness. While a worshipping Virgin indicated her awareness of her Son’s glorification through his crucifixion and resurrection, this face tells of a different knowing. The beginning of this child’s life is already marked by the end. And while the end will bring salvation to the world, the anticipation of the end brings suffering for the mother. Mary knows that her son, the one she has borne and is called to nurture into adulthood, will suffer on her behalf and on behalf of the whole world. It will be this suffering that she cannot stop or protect him from. And while the work tells of joy in the intimacy and tenderness between mother and child, this joy is held in tension with the suffering that will come from their respective acts of obedience. The worst that a mother could imagine for her child must happen because in that worst moment is, paradoxically, the hope for the world. Where their faces meet in this sculpture, joy and suffering are visibly held together.

What does it mean for us to press our suffering faces against the face of Jesus? As we look into his eyes of joy, how does that transform the way we see the world and our circumstances? The Christian story is one of hope. In the end, all things will be made right and there will be an end to all suffering and tears. And while we live with and through real pain, as we see with Donatello, we see that this human paradox can be held now for its resolution will come.