well, there was Septimus Piesse:

The Odophone.—The most important element in the perfumer’s art is the blending of the odorous principles to form a mixture which gratifies the sense of smell. Experience is the only guide. It is impossible to foretell the odour of a mixture from the odours of its components. Septimus Piesse endeavoured to show that a certain scale or gamut existed amongst odours as amongst sounds, taking the sharp smells to correspond with h:gh notes and the heavy smells with low. He illustrated the idea by classifying some fifty odours in this manner, mal:ing each to correspond with a certain note, one-half in each clef, and extending above and below the lines. For example, treble clef note E (4th space) corresponds with Portugal (orange), note D (1st space below clef) with violet, note F (4th space above clef) with ambergris. It is readily noticed in practice that ambergris is much sharper in smell (higher) than violet, while Portugal is intermediate. He asserted that properly to constitute a bouquet the odours to be taken should correspond in the gamut like the notes of a musical chord—one false note among the odours as among the music destroying the harmony. Thus on his odophone, santa!, geranium, acacia, orange-flower, camphor, corresponding with C (bass 2nd line below), C (bass 2nd space), E (treble 1st line), G (treble 2nd line), C (treble 3rd space), constitute the bouquet of chord C.
from: http://6.1911encyclopedia.org/P/PE/PERGOLA.htm

and here:
http://www.deadmedia.org/notes/6/069.html


formerly known as etaoin...