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 in a volume of mathematical tracts (1795), together with James Bernouilli's 'Doctrine of Permutations' and other papers. Maseres states that Dr. Wallis thought well of Brancker's table, and corrected a few errors in it. In the Rawlinson MSS. (A 45, f. 9) there is 'A Breviat and relation of Thomas Branker against Dame Appollin Hall, alias Appolin Potter, of London, once marryed to William Churchey' (July 1656). A curious manuscript key to an elaborate cipher in the possession of J. H. Cooke, F.S.A., is attributed to Brancker and is fully described in the 'Transactions of the Society of Antiquaries' for 1877.

 BRAND, BARBARINA, (1768–1854), poet and dramatist, was the third daughter of Admiral Sir Chaloner Ogle, bart., by Hester, youngest daughter and coheir of John Thomas, D.D., bishop of Winchester. She was married first to Valentine Henry Wilmot of Farnborough, Hampshire, an officer in the guards, and secondly, on 4 Dec. 1819, to Thomas Brand, twenty-first Lord Dacre, who died without issue on 21 March 1851. She died in Chesterfield Street, Mayfair, London, on 17 May 1854, in her eighty-seventh year.

Lady Dacre was one of the most accomplished women of her time. In 1821 her poetical works were privately printed in two octavo volumes, under the title of 'Dramas, Translations, and Occasional Poems.' Some of these are dated in the last century. They include four dramas, the first of which, 'Gonzalvo of Cordova,' was written in 1810. In the character of the great captain the author followed the novel of Monsieur de Florian. The next, 'Pedarias, a tragic drama,' was written in 1811; its story being derived from 'Les Incas' of Marmontel. Her third dramatic work was 'Ina,' a tragedy in five acts, the plot of which was laid in Saxon times in England. It was produced at Drury Lane 22 April 1815, under the management of Sheridan, to whose second wife, the daughter of Dr. Ogle, dean of Winchester, the author was related. It was not sufficiently successful to induce its repetition. It was printed in 1815, as produced on the stage, but in Lady Dacre's collected works she restored 'the original catastrophe, and some other parts which had been cut out.' The fourth drama is entitled 'Xarifa.' Lady Dacre's book contains also translations of several of the sonnets of Petrarch. Some of these had been privately printed at an earlier date in 1815(?), 1818, and 1819. In 1823, when Ugo Foscolo produced his 'Essays on Petrarch,' he dedicated them to Lady Dacre, and the last forty-five pages of the work are occupied by her ladyship's translations from Petrarch. Her 'Translations from the Italian,' principally from Petrarch, were privately printed at London in 1836, 8vo. In addition to her other accomplishments, Lady Dacre was an excellent amateur artist, and excelled in modelling animals, particularly the horse. She edited in 1831 'Recollections of a Chaperon,' and in 1835 'Tales of the Peerage and Peasantry,' both written by her only daughter, Mrs. Arabella Sullivan, wife of the Rev. Frederick Sullivan, vicar of Kimpton, Hertfordshire.

 BRAND, HANNAH (d. 1821), actress and dramatist, younger sister of [q. v.], kept a school at Norwich in conjunction with an elder sister Mary. But Hannah soon abandoned teaching for the stage, and on 18 Jan. 1792 appeared with the Drury Lane Company at the King's Theatre (Opera House) in the Haymarket, in her own tragedy of 'Huniades.' This piece, not without merit, was received during its progress with much favour. It proved too long, however, and the performance of Miss Brand, who was announced as making 'her first appearance upon any stage,' deprived it of what chance it might have had with an actress of more experience as the heroine. After the first representation it was withdrawn, but was reproduced on 2 Feb. with the title of 'Agmunda,' and with the omission of the character of Huniades, originally played by. This curious experiment proved no more successful than the first, and piece and author vanished from London. Two years later, 20 March 1794, she appeared at the York Theatre, playing Lady Townly in the 'Provoked Husband.' Formality of manner, a rigour in dress entirely out of keeping with the notions then prevalent, and it may have been a provincialism of pronunciation of which her manager, Tate Wilkinson, complains, stirred against her the feminine portion of the audience, and her first appearance, 'so far from being well received, met with rude marks of disgustful behaviour, and that from ladies who did not add by such demeanour addition to their politeness or good understanding' (, The Wandering Patentee, iv. 158). She remained