MASULIPATAM, or Bandar, a seaport of British India, administrative headquarters of the Kistna district of Madras, on one of the mouths of the river Kistna, 215 m. N. of Madras city. Pop. (1901), 39,507. Masulipatam was the earliest English settlement on the Coromandel coast, its importance being due to the fact that it was the bandar or port of Golconda. An agency was established there in 1611. During the wars of the Carnatic, the English were temporarily expelled from the town, which was held by the French for some years. In 1759 the town and fort were carried by storm by Colonel Forde, an achievement followed by the acquisition of the Northern Circars (q.v.). In 1864 a great storm-wave swept over the entire town and is said to have destroyed 30,000 lives. Weavers form a large portion of the inhabitants, though their trade has greatly declined since the beginning of the 19th century. Their operations, besides weaving, include printing, bleaching, washing and dressing. In former days the chintzes of Masulipatam had a great reputation abroad for the freshness and permanency of their dyes. Masulipatam is a station of the Church Missionary Society. The port is only a roadstead, where vessels anchor 5 m. out. A branch line from Bezwada on the Southern Mahratta railway was opened in 1908. The chief educational institution is the Noble College of the C.M.S.
MAT (O. Eng. meatt, from late Lat. matta, whence Ital. matta, Ger. and Dan. matte, Du. mat, &c.), an article of various sizes and shapes, according to the purpose for which it is intended, and made of plaited or woven materials, such as coir, hemp, coco-nut fibre, straw, rushes, &c., or of rope or coarse twine. The finer fabrics are known as “matting” (q.v.). Mats are mainly used for covering floors, or in horticulture as a protection against cold or exposure for plants and trees. When used near the entrance to a house for people to wipe their boots on “door mats” are usually made of coarse coco-nut fibre, or india-rubber, cork, or of thickly coiled wire. Bags, rolls or sacks made of matting are used to hold coffee, flax, rice and other produce, and the term is often used with reference to the specific quantities of such produce, e.g. so many “mats” of coffee, rice, &c.
To be distinguished from the above is the term “mat” in glass-painting or gilding, meaning dull, unpolished or unburnished. This is the same as Ger. matt, dead, dull, cf. matt-blau, Med. Lat. mattus, adapted from Persian māt, dazed, astonished, at a loss, helpless, and seen in “mate” in chess, from Pers. shāh māt the king is dead.
MATABELE (“vanishing” or “hidden” people, so called from their appearance in battle, hidden behind enormous oxhide shields), a people of Zulu origin who began national life under the chief Mosilikatze. Driven out of the Transvaal by the Boers in 1837, Mosilikatze crossed the Limpopo with a military host which had been recruited from every tribe conquered by him during his ten years’ predominance in the Transvaal. In their new territories the Matabele absorbed into their ranks many members of the conquered Mashona tribes and established a military despotism. Their sole occupation was war, for which their laws and organization were designed to fit them. This system of constant warfare is, since the conquest of Matabeleland by the British in 1893, a thing of the past. The Matabele are now herdsmen and agriculturists. (See [Rhodesia].)
MATACHINES (Span. matachin, clown, or masked dancer), bands of mummers or itinerant players in Mexico, especially popular around the Rio Grande, who wander from village to village during Lent, playing in rough-and-ready style a set drama based on the history of Montezuma. Dressed in fantastic Indian costumes and carrying rattles as their orchestra, the chief characters are El Monarca “the monarch” (Montezuma); Malinche, or Malintzin, the Indian mistress of Hernando Cortes; El Toro, “the bull,” the malevolent “comic man” of the play, dressed in buffalo skin with the animal’s horns on his head; Aguelo, the “grandfather,” and Aguela, “grandmother.” With the help of a chorus of dancers they portray the desertion of his people by Montezuma, the luring of him back by the wiles and smiles of Malinche, the final reunion of king and people, and the killing of El Toro, who is supposed to have made all the mischief.