409 



MADDER, COLOURING MATTERS OF. 



MAGAZINE. 



410 



to be closely allied substances. Further research will probably remove 

 all doubt concerning them. 



3. Subiacin(C 3a S. ll O lu ). This body is one of several yellow colouring 

 matters contained in madder. It was first noticed by Runge, who 

 called it Madder-orange. Schunk has obtained it in acicular and 

 lamellar crystals. It gives red compounds with bases, but does not 

 contribute to the production of fast colours during the process of 

 madder dyeing; Schunk thinks that it even acts injuriously. Pers&lts 

 of iron convert it into rubiacic add (C,,HeO,,), a lemon yellow, non- 

 crystalline powder. RMacate of potash crystallises from water in long, 

 silky, brick-red needles. 



Kubiacin is soluble in strong sulphuric acid, and hence is found in 

 the acid liquor mentioned when treating of the preparation of alizarin. 



4. Chlorogenin. Kuhlman, by treating garancin with boil ing alcohol, 

 evaporating to dryness, dissolving in water, precipitating with acetate 

 of lead and baryta water, and treating the precipitate with dilute 

 sulphuric acid, isolated a body that he called xanth'm. Schunk, 

 however, shows that this body is a mixture of rubian and an extractive 

 matter to which he has given the name chlorogenin, the rubichloric acid 

 of Rochleder. Its aqueous solution becomes brown when exposed to 

 the air, and hence the uniform dirty reddish-brown tint which a piece 

 of calico exhibits after having been dyed with madder. In the manu- 

 facture of garancin. the chlorogenin is mostly decomposed and removed. 

 The effect of adding lime to a dye-bath is partly, according to Schunk, 

 to takeaway the chlorogenin, rubiacin, and other valueless and injurious 

 bodies from their aluminous combination. 



5. Erylhrozym is the name given by Schunk to an azotised body 

 existing in madder. It acts as a ferment, and bears the same rela- 

 tion to rubian that emulsin does to amygdalin. It is the ferment 

 peculiar to madder, or rather to rubian, the latter body not yielding 

 alizarin when brought in contact with other ferments. It contains 

 very little more than 4 per cent of nitrogen. It may be obtained from 

 madder by digesting the latter in water at 100 Fahr., and precipitating 

 the aqueous extract with alcohol. 



6. Rubian (C^H^O.^). Madder is extracted with boiling water, the 

 extract agitated with animal charcoal, and the latter digested in 

 alcohol. A solution is thus obtained which leaves ou evaporation a 

 nearly pure substance, to which Schunk has given the name of rubian. 

 It is an amorphous, gum-like mass, of deep yellow colour, intensely 

 bitter taste, and soluble in water and alcohol. By the action of various 

 agents it is broken up into grape sugar and alizarin, together with 

 7. Rubiretin, and 8. Verantm ; the latter substance being accompanied 

 by 9. Rvbiafin, 10. Rubiagm, 11. Rubianin, and 12. Rubiadin, according 

 to the reagent employed, as seen in the following table : 



7. Subiretin (C S ,H 1S 0,), and 8. Verantin (C,,H 10 10 ), are amorphous, 

 resinous, and of brown colour. Along with alizarin they form the part 

 insoluble in cold water when rubian is acted upon by either of the 

 agents named. Rubiretiu is easily soluble in alcohol : verantin less 

 soluble in that liquid. 



9. Riibiafin (C 32 H, s Oi,) accompanies the last-named bodies when the 

 splitting up is effected by erythrozym. When treated with perchloride 

 of iron it passes, like rubiacin, into rubiacic acid. It crystallises in 

 yellow shining needles. 



10. Rubiagin accompanies rubiafin. It seems to be a distinct sub- 

 stance, but Dr. Schunk has not yet obtained it in a state of purity. 



1 1. Rvbianin (C 44 H 2 ,0 JO ) accompanies alizarin, rubiretin, and verantin 

 when rubian is decomposed by acids. It is tolerably soluble in boiling 

 water, and crystallises in lemon-yellow silky needles. 



12. Rubiadin (C J2 H, 3 U ). This body is associated with the other 

 three when rubian is acted upon by alkalies. It crystallises in beautifu 

 golden-yellow scales, insoluble in water, soluble in alcohol, and is com 

 pletely volatilised by heat. 



13. CMororubian (C, 4 H.j,C10 M ). When exposed to the action ol 

 chlorine, rubian is converted into a crystallisable substance, called by 

 Schunk Cklororubian. It is insoluble in water, but soluble in alcohol 

 It is formed from rubian by the elimination of one atom of sugar, anc 

 the replacement of an atom of hydrogen by one of chlorine. By the 

 continued action of chlorine it U converted into Perchlororubian 

 (C^HjCljO,,). By the action of acids upon chlororubian a seconc 

 atom of sugar is set free, and Chlurorubiadin (C B H lt C10,) is formed. 



14. Rutnanic acid (C M H ?() 0, 7 ). (Ruberythric acid, Rochleder.) This 

 acid results from the action of alkalies and oxygen upon rubian ; a 

 vessel to which the air can have access being therefore used in its pre 

 paration. It gives definite crystalline compounds with the alkalies, is 

 tolerably soluble in boiling water, and crystallises in letnon-yellow 

 silky needles. By decomposition it yields one atom of alizarin, and two 

 f grape sugar. 



ttadder-fiyeiny. The colouring matters of madder have but little 



affinity for cotton fibre, but a great affinity for mordants ; hence, 

 when a pattern has been printed on cotton with a mordant [CALICO- 

 PKINTINO, col. 516J, and the whole passed through the madder bath, it 

 is not difficult to remove the colour from the un-mordanted portions, 

 and thus secure a good white ground. 



Madder colours are very stable, resisting the action of air and light 

 n a remarkable degree. Turkey-red cloth is a well-known illustration 

 of this fact. 



From a consideration of the properties of the various substances 

 contained in madder, Dr. Schuuk is enabled to explain several curious 

 phenomena observed in madder-dyeing which were not previously 

 mown. For instance, it is well known that the sudden heating of a 

 madder-bath produces prejudicial effects. This no doubt arises from a 

 stop being put to the action of the ferment (erythrozym), and the con- 

 sequent non-production of the whole of the alizarin from the rubian. 

 Hence, too, the advantage of mixing several sorts of madder together, 

 some containing excess of rubian, some excess of ferment. Again, it is 

 well known that up to a certain time madder improves by keeping ; 

 this, no doubt, is owing to the thus increased action of the ferment, an 

 action that evidently commences so soon as the madder-roots are 

 gathered from the soil. 



MADHOUSE. [LUNATIC ASYLUMS.] 



MADNESS. [INSANITY; LUNACY.] 



MADRIGAL, in music, an unaccompanied vocal composition, some- 

 times in three parts, but commonly in more ; and as the true madrigal 

 is written in what is termed the learned style abounding in points of 

 the fugal or imitation kind it is, almost necessarily, as much the pro- 

 duce of study as of genius. Morley himself a renowned writer of 

 madrigals says that in this sort of composition " no point is to be 

 long stayed upon, but once or twice driven through all the parts, and 

 sometimes reverted [inverted], and so to the close, then taking another. 

 And that kind of handling points is most esteemed when two parts go 

 one way, and two another way, and most commonly in tenths or thirds. 

 Likewise the more variety of points be showed, the more is the madrigal 

 esteemed : and withal you must bring in fine bindings (siucopations) 

 and strange closes, according as your ditty shall move you. Also in 

 compositions of six parts (or five) you must have an especial care of 

 causing your parts to give place one to another, which you Cannot 

 do without resting; nor can you cause them to rest till they have 

 expressed that part of the dittying which they have begun." (' Treatise,' 

 1597.) 



The madrigal is to be traced to a very early period in the history of 

 vocal music in parts : to the Flemings we are indebted for its birth, 

 about the middle of the 16th century, and the Italians took it up 

 shortly after, with what success the names of Palestrina, Marenzio, 

 Conversi, Ferretti, &c., will bear witness. Nor were the English defi- 

 cient in emulation or slow in manifesting it ; Morley's first book of 

 madrigals was published in 1594, Weelkes's in 1597. Wilbye's in 1598, 

 Bennet's in 1599, and only a few years later, John Ward's and Orlando 

 Gibbons's appeared. Dowland's and Ford's lovely compositions, the 

 former published in 1597, and the later in 1607, have the title of 

 madrigal bestowed on them, but they are more properly part-sonys, or 

 what would now be called ylees. It is not too much to say, that the 

 English madrigalists have no superiors, and that for the preservation 

 of this high order of composition, the art has long been, and still con- 

 tinues to be, indebted to the Madrigal Society, a club, consisting chiefly 

 of amateurs, founded in London in 1741, and which, by zeal and per- 

 severance, has succeeded in diffusing throughout the British Isles a 

 taste for a species of music as delightful as it is scientific, and exactly 

 suited to the choral societies already existing, or springing up, in all 

 our great manufacturing and commercial towns. 



Every attempt to fix, with any precision, the derivation of this word, 

 has been baffled. Menage thinks that Mandra, ' a sheep-fold,' is its 

 source, for he supposes it to have been, in its origin, a pastoral song. 

 Bishop Huet considers it a corruption of Marteyaux, a name given to 

 the inhabitants of a district of Provence, who, according to a learned 

 French writer, excelled in the species of poetical composition called 

 the Madrigals. Dr. Burney agrees with Doni, who derives it from 

 AUa Madre, the first words of certain short hymns addressed to the 

 Virgin, and afterwards to the mother of Love, Madre ga/ante. And 

 Sir John Hawkins remarks, that there is a town in Spain named 

 Madrigal. But all these conjectures for they amount to no more- 

 are merely plausible, and we only offer them in the absence of a more 

 satisfactory etymology. 



The English glee [GLEE] is probably a graft of the madrigal. The 

 finest madrigals belong to the 16th century ; but the term glee does 

 not seem to have been used before the middle of the 17th century, 

 at which time a glee was defined as " a song of three or more parts 

 upon a gay or merry subject, in which all the voices begin and end 

 together, singing the same words." It will be seen that the structure 

 of the madrigal is much more complicated than this, although some of 

 our glees might be appropriately termed madrigals. 



MAGAZINE. Magazines are of two descriptions, permanent or 

 temporary. Permanent magazines are strong buildings constructed 

 generally of brick or stone within a fortified place, or in the neighbour- 

 hood of a military or naval station, in order to contain in security the 

 gunpowder or other warlike stores which may be necessary for the 

 defence of the place, or for the use of the troops who are to perform 



