Around the 15th and lasted until the beginning of the 20th century, on the Italian Adriatic coast to the Apennines, the sacred tattoo began to spread. The inhabitants and pilgrims of these lands had the use of tattooing their hands or forearms near their wrists. They were blue tattoos of figures, mottos, crosses, sacred symbols, pierced hearts, skulls and anchors. The origins of this tradition came from the Sanctuary of Loreto, probably it was an act of devotion or perhaps recognition. Caterina Pigorini Beri, in this book of 1889, traces the birth of this interesting custom and collects a hundred drawings of the original tattoos.

At least thirty-seven per cent of male convicts and fifteen per cent of female convicts were tattooed by the time they arrived in the penal colonies, making Australians quite possibly the world's most heavily tattooed English-speaking people of the nineteenth century. Each convict’s details, including their tattoos, were recorded when they disembarked, providing an extensive physical account of Australia's convict men and women. Simon Barnard has meticulously combed through those records to reveal a rich pictorial history. Convict Tattoos explores various aspects of tattooing—from the symbolism of tattoo motifs to inking methods, from their use as means of identification and control to expressions of individualism and defiance—providing a fascinating glimpse of the lives of the people behind the records. Simon Barnard was born and grew up in Launceston. He spent a lot of time in the bush as a boy, which led to an interest in Tasmanian history. He is a writer, illustrator and collector of colonial artifacts. He now lives in Melbourne. He won the Eve Pownall Award for Information Books in the 2015 Children’s Book Council of Australia’s Book of the Year awards for his first book, A-Z of Convicts in Van Diemen’s Land. Convict Tattoos is his second book. ‘The early years of penal settlement have been recounted many times, yet Convict Tattoos genuinely breaks new ground by examining a common if neglected feature of convict culture found among both male and female prisoners.’ Australian ‘This niche subject has proved fertile ground for Barnard—who is ink-free—by providing a glimpse into the lives of the people behind the historical records, revealing something of their thoughts, feelings and experiences.’ Mercury 'The best thing to happen in Australian tattoo history since Cook landed. A must-have for any tattoo historian.’ Brett Stewart, Australian Tattoo Museum

The human desire to adorn the body is universal and timeless. While specific forms of body decoration and the motivations for them vary by region, culture, and era, all human societies have engaged in practices designed to augment and enhance people’s natural appearance. Tattooing, the process of inserting pigment into the skin to create permanent designs and patterns, is one of the most widespread forms of body art and was practiced by ancient cultures throughout the world, with tattoos appearing on human mummies by 3200 BCE. Ancient Ink, the first book dedicated to the archaeological study of tattooing, presents new, globe-spanning research examining tattooed human remains, tattoo tools, and ancient art. Connecting ancient body art traditions to modern culture through Indigenous communities and the work of contemporary tattoo artists, the volume’s contributors reveal the antiquity, durability, and significance of body decoration, illuminating how different societies have used their skin to construct their identities.

For thousands of years, Native Americans used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. This book offers an examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains.--Publisher description.

"Juniper Ellis traces the origins and significance of modern tattoo in the works of nineteenth- and twentieth-century artists, travelers, missionaries, scientists, and such writers as Herman Melville, Margaret Mead, Albert Wendt, and Sia Figiel." --book cover.

“Parents with or without tattoos will be touched by [this] heartwarming tale about sharing your past with your children—it leaves a mark” (Real Simple). It’s after dinner and a little boy wants a story from his father. It’s story he’s heard many times before, one etched all over his father’s body. So, dad once again tells his little son the story behind each of his tattoos, and together they go on a beautiful journey through family history. There’s a tattoo from a favorite book his mother used to read him, one from something his father used to tell him, and one from the longest trip he ever took. And there is a little heart with numbers inside—which might be the best tattoo of them all. Tender pictures by the New York Times–bestselling illustrator Eliza Wheeler complement this lovely ode to all that's indelible—ink and love.

Around the 13th century, among the Crusaders and Christian pilgrims who went to Jerusalem, the custom of marking their skin with tattoos began to spread, as a symbol of their Christianity and their stay in the Holy Land.If we dig through the origins of this custom we discover that it was already practised by Egyptian Christians of the early centuries. Copts, Crusaders, Franciscans, Armenians, Dragomans and pilgrims have ensured that the tradition of sacred tattooing in this city has been continuous, without interruption; so much so that even today in Jerusalem a family exists that for many centuries has continued to tattoo ancient drawings on the skin of pilgrims.