This is a tad mind blowing:
No repertoire of critical terminology will wholly circumscribe a complex olfactory experience, and no doubt many such attempts are easy to lampoon. Here, for example, is Turin on No 5 by Ernest Beaux (1921) for Chanel:
Fragrances very occasionally achieve a compelling 3-D effect, as if you could run your hand along them in midair. The original Rive Gauche [Yves Saint Laurent] and Beyond Paradise [Estée Lauder] are relatively recent examples, but they are still recognizably florals, made of soft, perishable matter. No. 5 is a Brancusi. Alone among fragrances known to me, it gives the irresistible impression of a smooth, continuously curved, gold-coloured volume that stretches deliciously, like a sleepy panther, from top note to drydown.
Let us assume he is thinking of the bronze “Bird in Flight”, and not “The Kiss”, though interestingly Sanchez appears to admit the possibility of one of the polished marble versions. Both are apt.