In attic ceramic imaging, there are often figures, fatal or divines, male or female that hold, breathe or offer flowers. The latter are not merely meaningless ornaments. They are signs of a semantic burden which, far from being immutable, changes according to the narrative context of the image. Thus, as a modulation element, the floral sign materialises the Greek concept of Charis in its dual dimension, that of a person’s physical grace (beauty, youth, desirability) and that of pardon made in an exchange of any kind (erotic or cultuel). However, the flower often has an additional dimension: it is an odorous sign which communicates to the viewer of the image the olfactory impression of an object, person, place or situation.