Guest blog series by: Sophie Mogg
Cotton, we’ve all seen it, heard of it and probably worn clothes made from it too. In today’s installment we’ll be taking a look at Gossypium arboreum, the species of cotton native to India and Pakistan. This particular species was supplied as a single specimen by Carl Linnaeus for his herbarium and was recorded within his own book, Species Plantarum 1753.
Cotton has been cultivated in South Asia from around 3300 BCE. It is a perennial shrub, reaching approximately 2M tall and grown more like an annual due to being harvested every year. The leaves of the cotton plant are lobed, typically having 3-5 lobes and bearing a close resemblance to maple leaves. The seeds are contained within the boll, a small capsule and individual seeds are surrounded by two types of fibres known as staples and linsters. The former is produced into high quality textiles where as the latter produces lower quality textiles. Whilst Gossypium arboreum and its sister plant, Gossypium herbaceum (Africa) only form 2% of the world production of cotton, new varieties of these species are being bread for more desirable traits. One such variety is Gossypium arboreum var. neglecta grown along the Meghna river. This variety, known as “Phuti karpas” is used to make Muslin in Bangladesh as the cotton fibres can be spun to produce threads are more resistant to breaking at higher counts.
The fibres can be separated from the seeds either manually or by use of a machine known as the cotton gin. There are two types of cotton gins, the saw gin for the shorter fibres and roller gin for the longer fibres. The roller gin was invented in India and is used to prevent damage to the longer fibres. Once fibres are separated from the seed they are compressed into lint bales and graded. Carding is the next step, where fibres are pulled so that align parallel to one another and eventually form a sliver which is a rope-like strand of cotton. The slivers are combed to remove impurities before being drawn out into thin strands (roving). The final processing step of cotton is the spinning, where the roving is drawn out and twisted for form yarns and threads for weaving to produce textiles.
Towards the end of the 18th century Manchester had begun to build steam powered mills in order to work with cotton and by 1871 was using approximately 30% of the cotton produced globally. Over 100 cotton mills were built during this time and the industry was supported by The Exchange where over 10,000 cotton merchants would meet in order to sell their wares. The start of the cotton industry across Britain coincided with the Calico act of 1721 being repealed allowing British companies to use cotton in order to make calico, a cheaper and less refined cotton textile, into clothing. Cotton textiles soon became one of the main exports of Britain and is still one of the worlds most used fibres today.
If you are interested in finding out more about plants from Asia over the next few weeks please fill out the poll below.
If you would like to learn more about cotton and the cotton industry follow the links below:
I’ll soon be travelling to other parts of Asia so I hope you continue to join me. Look for future blogs exploring dyes, medicines and potentially poisons. As always, don’t forget to leave a comment about what you’d like to see from our collection.
Guest series by: Sophie Mogg
Continuing on from last weeks post, I will be continuing my exploration into plant species within South Asia. This particular blog post will feature the otherwise ordinary shrub known for its highly pigmented dye, Lawsonia inermis.
Lawsonia inermis L., commonly referred to as Henna, is a tall shrub or small tree ranging in height from 1.8-7.6m tall. Native to Africa and South Asia, L. inermis thrives at high temperatures and cannot survive the milder climate (below 11°C) found within the UK. At 35-45°C is when the most dye, referred to as Lawsone or hannotannic acid, is produced. It is this dye that produces the dark red-orange pigment that Henna is known for.
Harvested leaves are ground into a fine powder and often mixed with a mild acidic liquid such as tea, lemon juice or lime juice to produce the paste used in the traditional practice of mehndi/mehendi. Mehndi is the art of piping the henna past onto the skin in beautifully intricate patterns often containing floral and geometric designs. Mehndi is typically applied in the nights before a wedding, with a tradition of hiding the groom’s name amongst the bride-to-be’s mehndi.
Aside from mehndi, henna is also used holistically in the Ayurveda practice of medicine. It is often mixed with essential oils and applied topically to treat headaches, stomach pains and burns as well as open wounds and fever. Henna can also be used as a form of sunblock. Henna would also be applied to colour the hooves, paws and tails of particularly favoured horses, donkeys and salukis.
To learn more about henna please follow the links below:
All the curators have been out and about over half term, in Manchester and beyond! We’re helping to spread the word about our new museum development plans. We want to hear what people think about our plans to build an extension to the Manchester Museum. It will house a new permanent gallery focusing on the history and culture of South Asia as well as a new exhibition space for host blockbuster shows. If you want to find out more, keep track of our progress on our Courtyard Project blog.
Exciting changes ahead for Manchester Museum….
Manchester Museum, part of The University of Manchester, has received initial support from the Heritage Lottery Fund (HLF) for its Courtyard Project. The project will transform the Museum with a major two-storey extension, a new main entrance, and much-improved visitor facilities inspired by a new ethos of a ‘museum for life.’
Manchester Museum – possible perspective render
Work will commence in May 2018 and the finished building will reopen in early 2020. Development funding of £406,400 has been awarded to help Manchester Museum progress its plans to apply for a full grant at a later date.
The Courtyard extension will create a major new Temporary Exhibitions Gallery, providing almost three times as much space as the Museum currently has for temporary and touring shows. The new facility will enable the Museum to become one of the North of England’s leading venues for producing and hosting international-quality exhibitions on human cultures…
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For the past few days I have been digging through the Museum’s annual reports from the 19th-20th century. During my search one name kept cropping up: Miss Wigglesworth. She was in every report for a long period of time so I decided to look into her.
Grace Wigglesworth was a student at Owens College from 1900 (which became The Victoria University of Manchester in 1904 and would later become the University of Manchester). She graduated with a B.Sc (Hons) in Botany in 1903 and later gained a Master’s degree in palaeobotany.
In 1908 she was admitted as a fellow in the Linnean Society of London, which housed (and still does) the collection and personal library of the father of modern taxonomy Carl Linnaeus. In January 1911, Wigglesworth was appointed Assistant Keeper of botany at the Manchester Museum. Assistant Keepers were in charge of curating the collections. During her time as Keeper, Wigglesworth cared and organised the museum’s collections, worked on gallery displays and lectured at the University.
Wigglesworth was the second female within the Herbarium staff and held the post for 33 years. Even after she retired in 1944, Wigglesworth continued to help around the Herbarium until the 1950’s.
The Manchester Museum came to a standstill this morning as the staff stood transfixed watching the partial solar eclipse over Manchester’s cloudy skies. Only a few hours to go until our next spectacle as the British Museum’s Moai Hava arrives from Liverpool World Museum ahead of our next temporary exhibition ‘Making Monuments on Rapa Nui‘. An exciting day for us all!