Anthropodermic Bibliopegy is the name given to the use of human leather to bind books. The name stems from the combination of the Greek root words, human (Anthropos), skin (derma), book (biblion), and fasten (pegia). The practice of creating anthropodermic books was popular throughout the 17th and 18th centuries. Most commonly, anthropodermic books are medical tomes, with the human leather taken from medical cadavers. Others were produced after criminal trials, with the criminal’s skin used to enclose the record of their own death sentences, creating a form of punishment that would surpass death. Other anthropodermic books contain poems or are religious texts. This book was written and printed in 1599 but most probably was rebound later when creation of anthropodermic books became more predominant. The book is a small tome of a religious nature containing the work of Bishop Thomas Bilson, who in a puritanical voice states that the primary argument articulated in this book is that “the metaphorical Calvinist interpretation of Hell as an exclusion from God was accurate then Christ's descent into hell after his crucifixion must refer to an actual existent hell as Christ was neither subject to sin nor able to be separated from the Divine.” The unusual cover of the book has led to many questions, the main being whether the book is covered with human skin. It was confirmed as such in 2014 with DNA testing undertaken by honours student Talanna Buckley at Federation University finding an 100% match to human DNA on the outside cover of the book. This is one of only two confirmed anthropodermic books in Australia, the other is housed at the National Library of Australia. Other forms of testing the leather of books have been found to be more accurate than DNA testing. For example, before DNA testing or PMF (Peptide Mass Fingerprinting) are undertaken many books have been identified as made from human skin through the close examination of the skins patterning. Hair follicles are the focus of the examination as certain patterns and sizes lend themselves to being human. However, many of these books have been proven to not be bound in human skin, the same can be said of books with inscriptions claiming them as anthropodermic. Peptide Mass Fingerprinting (PMF) testing has been found to be the most reliable way of confirming a leather bindings origin. This process involves the sampling of collagen-based materials, cutting the protein to gain specific amino acid combinations which form individual peptide sequences. Each mammal has an individual amino acid sequence in its collagen therefore its peptide mass combination is unique. This form of test can provide a more accurate outcome as collagen will be preserved for longer after the tanning process and will not be damaged in the same way DNA can be by the tanning process. DNA testing can also provide false positives as trace DNA from someone touching the book could be amplified and provide the reading instead of that of the leather itself. However, this book was tested with many controls as well as specific decontamination procedures in order to ensure that it was not trace DNA being tested. This book is historically and spiritually significant because it is a rare example of an early printed English Christian religious tract produced in Old English and Latin.. Its association with Thomas Bilson, who oversaw the final printing and publication of the King James Bible, is important. The covering of this book has been tested for human dna. Findings prove the book is covered with human skin, increasing the rarity of the object.420 page book with unusual leather cover. The book is written in Old English with passages in latin. There is a pressed petal between p.68 and 69. The covering of this book is made of human skin. The practice of binding books in human skin, also known as anthropodermic bibliopegy.Inside cover - James Hendy No 17 (Fu)gends Road Palmers Village Westminster. The gift of his mother Mrs Thomas Hendy. Some notes made through text eg p.112, and a passage written on the last page.religion, bible, edward lowe, edward lotos, thomas bilson, anthropodermic bibliopegy, james hendy, full redemption, religious, leather, wilson, winchester, jesus, puritanical, puritans, bungey, bilson, human skin, skin, human skin cover, human skin binding

Black and white copy of original photograph showing lines of sheep skins hung out to dry. Three in wearing hats and overalls and a boy standing in front of the skins. Trees in the background.o'beirne, skin, sheep, farming, drying racks, linton, business, wool

For the First Peoples of south-eastern Australia, making possum skin cloaks has long been a culturally important practice. But during the late nineteenth and early twentieth centuries, possums and other native animals were also heavily hunted by white colonists who coveted their warm and fashionable furs. This rug, made from fifteen possum pelts, was used in a Brighton home during cold winter months in the 1920s.Possum skin rug made from 15 rectangular cut pelts mounted onto a brown wool felt with cut scalloped edges. possum skin, rug, fur, 1920s

The artists who contributed to this work were undertaking an Advanced Certificate in Koori Art and Design, which ran at the Ballarat School of Mines from 1995-2002. They classes took place on the SMB Campus in the former Ballarat Technical School (Gribble Building)Photograph of students making the Ballarat School of Mines Possum Skin Cloak.advanced certificate in koori art and design, possum skin cloak, bianca nikkelson, diana nikkelson, fred cahir, aboriginal, possum, pelts, kim nikkelson

Blank invoice for J. & F. O'Beirne.Text: " Phone 8 / Linton 195 / J. & F. O'BEIRNE / Wool and Skin Merchants / Established 1872. "j o'beirne, f o'beirne

Man standing on bales in front of the 'Linton' railway station sign is identified as F W O'Beirne. No others identified.Original sepia photo of O'Beirne's wool and skin wagons loaded with bales, at Linton railway station. Numerous draught horses in foreground, some with feeding bags.On back: "Sturgeon-26".o'beirne family, f.w. o'beirne, transport, business enterprises, wool and skin merchants, wool bales, horses, linton railway station

Original O'Beirne family home on Skipton Road, Linton, adjacent to office of their wool and skin business.Black and white copy of original photograph showing a weatherboard house with verandah and lattice work, next to a smaller building (office) which has two windows, a door and no verandah. One pine tree behind the buildings and one to the right of photograph. A light coloured picket fence in front of the buildings with a gate half way along. Six men, two children, a dog and two horses (one with cart) in front of the buildings.o'beirne residence, house, home, building, office, shed, business, children, horse cart, dog (buller), francis o'beirne, francis john (frank), harry o'beirne, rod o'connor (bookkeeper), charlie todd, jack cox, roger o'beirne, frank hall butcher from piggoreet, wool and skin business

John Stratton's Wool and Skin Store Commission Agent in Lower Main Street Stawell. Photo taken from Central Park No1 Grandstand.stawell

Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm revived their communities' craft of cloak-making. Comprises tools, artworks, ornaments and two magnificently worked possum skin cloaks.vii, 64 p. : chiefly col. ill., map, ports. ; 18 cm.ISBN 1876944366aboriginal culture, possum skin cloaks

The story behind the coat is that it was created in the early 1920s by F.J.Ellimor,Brunswick furriers, at the request of Mr Walter Tepper. Walter Tepper lived on a property, "Woodlands" at Kewell, near Murtoa. He trapped the rabbits and took the pelts to Melbourne where he commissioned the furrier to make the coat for his soon to be fiancé, Ida. Walter Tepper is buried in the Murtoa cemetery. Walter's granddaughter Carol Michalicek's (nee Schultz) donated the coat to the Murtoa Museum.It is significant as it is a fine example of the use of rabbit skins to create a fashionable coat. It remains in very good condition, 95 years since its creation. The coat has a link to the Tepper family who have resided in the district for over 100 years. This dark brown rabbit fur coat is well tailored, with quality inner lining and a dark, even-dyed coat. There is so much detail in the design of the coat, including a gorgeous heart shaped pocket. It would have taken quite a few rabbits pelts to make the long full-length coat, as an average rabbit skin provides about 9 inch². walter and ida tepper, rabbit skin coat, kewell

Receipt issued to Mrs. W. Grigg 20/10/1941.Text: " Phones - Linton Nos. 3 and 8. / LINTON / J. & F. O'BEIRNE / WOOL AND SKIN MERCHANTS. / Wool-scouring and Fellmongery Works at Breakwater, Geelong. / Distributing Agents for Thomas' Sheep Dip, Gold SeEal Motor Lubricating Oils. / Manufacturers of Neatsfoot Oil. "mrs. w. grigg, j. & f. o'beirne, linton

'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe

The artists who contributed to this work were undertaking an Advanced Certificate in Koori Art and Design, which ran at the Ballarat School of Mines from 1995-2002)Photograph of the Ballarat School of Mines Possum Skin Cloak, along with details of each panel. .1) View of engraving .2) View of fur .3) Centre detail by Diane Nikkelson .4) Detail by Joe Lee .5) Detail .7) Detail of a swan .8) Detail of a snake by Sam Morrison .9) Detail of a turtle .10) Detail of a whale .11) Detail of an eel by Diane Nikkelson .12) Detail of an emu by Laura Guest .13) Detail of a parrot .14) Detail advanced certificate in koori art and design, possum skin cloak, greg clark, laura guest, tim karpany, kym krasa, joe lee, jason marks, sam morrison, bianca nikkelson, diana nikkelson, kelly saylor, val d'angri, fred cahir, paul lambeth, aboriginal, eel trap, whale, cockatoo, snake, turtle, fish, eagle, emu, swan, pelts, possum

Pomoca is Swiss based company established by Louis Dufour, a hotelier in Avants, Switzerland. His son Éric developed the production of non-slip skins, and later adhesive skins, as well as many other mountain accessories in1940s.The glue was used by the donor to glue skins on his cross country skis when skiing on the Bogong High Plains.This item is significant as it was an important product used in the ski industry.A small tube of Pomoca skins glue in a blue container with white behind brand section. The box also features instruction in German and French.COLLE POUR PEAUX POMOCA ANTIDERAPANTES DE SKI Translation - Glue for Pomoca anti slip ski skinsski equipment, ski skins, pomoca products

There is no known information about the species of snake that this skin belongs to. However, generally speaking, Australia has over two hundred known species of snakes. They are elongated, legless and carnivorous reptiles with scaly, textured skin. Snakes are especially important in Aboriginal dreaming, representing one of the great and powerful forces of nature and spirit. In the Rainbow Serpent Dreamtime story, they are considered the great life giver and protector of water, which is their spiritual home. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Caramel coloured long snake skin curled around in an oval shape.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, snake skin, snake, reptile

An MP had much better working conditions and '5' star accommodation' compared to the poor bloody field soldiers.australia - armed forces - military police - biography

Purchased through the Horsham Art Gallery Trust Fund, 2008