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The concept of a healthy skin penetrated the lives of many people in late-nineteenth-century Britain. Popular writings on skin and soap advertisements are significant for pointing to the notions of the skin as a symbolic surface: a visual moral ideal. Popular health publications reveal how much contemporary understanding of skin defined and connected ideas of cleanliness and the visual ideals of the healthy body in Victorian Britain. Characterised as a 'sanitary commissioner' of the body, skin represented the organ of drainage for body and society. The importance of keeping the skin clean and purging it of waste materials such as sweat and dirt resonated in a Britain that embraced city sanitation developments, female beauty practices, racial identities and moral reform. By focusing on the popular work by British surgeon and dermatologist Erasmus Wilson (1809-84), this article offers a history of skin through the lens of the sanitary movement and developments in the struggle for control over healthy skin still in place today.

This paper examines how the production, content and reception of the film Antony van Leeuwenhoek (1924) influenced the historical framing of science. The film features microcinematography by the pioneering Dutch filmmaker Jan Cornelis Mol (1891–1954), and was part of a dynamic process of commemorating seventeenth-century microscopy and bacteriology through an early instance of visual re-creation – a new way of using scientific material heritage, and of enabling audiences to supposedly observe the world of microscopic organisms in just the same way as the Dutch scientist Antoni van Leeuwenhoek (1632–1723) had observed them for himself. Knowledge transfer concerning material culture, around both historical and contemporary instruments, was the determining factor in the microcinematography practices applied in this film. The production and experience of the film also mirrored the seventeenth-century process of experimentation, playing with optics, and visualizing an entirely new and unknown world. Unlike other biographical science films of the 1920s, Antony van Leeuwenhoek featured abstract depictions of time and movement that allowed the audience to connect the history of science with microcinematography, contributing to the memory of Van Leeuwenhoek's work as the origins of bacteriology in the process.

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