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 of genuine brandy with spirit other than that derived from the grape, it is now enhanced by the addition of artificial essences to the blend of the two spirits.

 BRANDYWINE, the name of a stream in Pennsylvania and Delaware, U.S.A., which runs into the Delaware river a few miles east of Wilmington, Delaware. It is famous as the scene of the battle of Brandywine in the American War of Independence, fought on the 11th of September 1777 about 10 m. north-west of Wilmington, and a few miles inside the Pennsylvania border. Sir William Howe, the British commander-in-chief, while opposed to Washington’s army in New Jersey, had formed the plan of capturing Philadelphia from the south side by a movement by sea to the head of Delaware Bay. But contrary winds and accidents delayed the British transports so long that Washington, who was at first puzzled, was able to divine his opponents’ intentions in time; and rapidly moving to the threatened point he occupied a strong entrenched position at the fords over the Brandywine, 25 m. south-west of Philadelphia. Here on the 11th of September the British attacked him. Howe’s plan, which was carefully worked out and exactly executed, was to deliver an energetic feint attack against the American front, to take a strong column 12 m. up the stream, and crossing beyond Washington’s right to attack his entrenchments in rear. Washington was successfully held in play during the movement, and General Sullivan, the commander of the American right wing, misled by the conflicting intelligence which reached him from up-stream, was surprised about noon by definite information as to the approach of Cornwallis on his right rear. Changing front “right back” in the dense country, he yet managed to oppose a stubborn resistance to the flanking attack, and with other troops that were hurried to the scene his division held its ground for a time near Birmingham meeting-house. But Howe pressed his attack sharply and drove back the Americans for 2 m.; the holding attack of the British right was converted into a real one, and by nightfall Washington was in full retreat northward toward Chester, protected by General Greene and a steady rear-guard, which held off Howe’s column for the necessary time. The British were too exhausted to pursue, and part of Howe’s force was inextricably mixed up with the advancing troops of the frontal attack. The American loss in killed, wounded and prisoners was about 1000; that of the British less than 600. Howe followed up his victory, and on the 27th of September entered Philadelphia.

 BRANFORD, a township, including a borough of the same name, in New Haven county, Connecticut, U.S.A., at the mouth of the Branford river and at the head of a short arm of Long Island Sound, about 7 m. E.S.E. of New Haven. Pop. of the township (1890) 4460; (1900) 5706 (1968 foreign-born); (1910) 6047; of the borough (1910) 2560. The borough is served by the New York, New Haven & Hartford railway, and by an electric line connecting with New Haven. A range of rocky hills commands fine views of the Sound, the shore is deeply indented, the harbour and bays are dotted with islands, and the harbour is deep enough for small craft, and these natural features attract many visitors during the summer season. In Branford is the James Blackstone Memorial library (1896), designed by Solon Spencer Beman (b. 1853) in the Ionic style (the details being taken from the Erechtheum at Athens). On the interior of the dome which covers the rotunda are a series of paintings by Oliver Dennett Grover (b. 1861) illustrating the evolution of book-making, and between the arches are medallion portraits, by the same artist, of New England authors—Longfellow, Emerson, Hawthorne, Lowell, Bryant, Whittier, Holmes and Mrs Stowe. The library was erected by Timothy B. Blackstone (1829–1900), a native of Branford, and president of the Chicago & Alton railway from 1864 to 1899—as a memorial to his father, a descendant of William Blackstone (d. 1675), the New England pioneer. The principal industries of Branford are the manufacture of malleable iron fittings, locks and general hardware, the quarrying of granite, and oyster culture.

The territory of Totoket (now the township of Branford) was purchased from the Indians by the New Haven Plantation, in December 1638, for eleven coats of trucking cloth and one coat of English cloth, but with the reservation for a few Indians of what is still known as Indian Neck. In 1640 the general court of New Haven granted it to the Rev. Samuel Eaton (1596?–1665), a brother of Theophilus Eaton, on condition that he brought friends from England to settle it. As Eaton went to England and did not return, Totoket was granted in 1644 to settlers mostly from Wethersfield, Conn., on condition that they should organize a church state after the New Haven model and join the New Haven Jurisdiction. The settlement was made in the same year, and about two years later several new families came from Southampton, Long Island, under the leadership of the Rev. Abraham Pierson (c. 1608–1678), an ardent advocate of the church state, who was chosen pastor at Totoket. The present name of the township, derived from Brentford, England, was adopted about 1645. After the members of the New Haven Jurisdiction had submitted to Connecticut, Pierson, in 1666–1667, led the most prominent citizens of Branford to New Jersey, where they were leaders in founding Newark. The borough of Branford was incorporated in 1893.

 BRANGWYN, FRANK (1867–&emsp;&emsp;), English painter, was born at Bruges, and received his first instruction from his father, the owner of an establishment for church embroideries and kindred objects, who took a leading part in the Gothic revival under Pugin. When the family moved to England, Brangwyn attracted the attention of William Morris by a drawing on which he was engaged at South Kensington museum. He worked for some time in Morris’s studio, and then travelled more than once to the East, whereby his sense of colour and the whole further development of his art became deeply influenced. Indeed, the impressions he then received, and his love of Oriental decorative art—tiles and carpets—exercised a greater influence on him than any early training or the works of any European master. His whole tendency is essentially decorative: a colour-sense of sumptuous richness is wedded to an equally strong sense of well-balanced, harmonious design. These qualities, together with a summary suppression of the details which tie a subject to time and place, give his compositions a nobly impressive and universal character, such as may be seen in his decorative panel “Modern Commerce” in the ambulatory of the Royal Exchange, London. Among other decorative schemes executed by him are those for “L’Art nouveau” in the rue de Provence, Paris; for the hall of the Skinners’ Company, London; and for the British room at the Venice International Exhibition, 1905. The Luxembourg museum has his “Trade on the Beach”; the Venice municipal museum, the “St Simon Stylites”; the Stuttgart gallery, the “St John the Baptist”; the Munich Pinakothek, the “Assisi”; the Carnegie Institute in Pittsburg, his “Sweetmeat Seller”; the Prague gallery, his “Turkish Boatmen”; and the National Gallery of New South Wales, “The Scoffers.” Brangwyn embarked successfully in many fields of applied art, and made admirable designs for book decoration, stained glass, furniture, tapestry, metal-work and pottery. He devoted himself extensively to etching, and executed many plates of astonishing vigour and dramatic intensity. He was elected associate of the Royal Academy in 1904.

 BRANKS (probably akin to Irish brancas, a halter; Ger. Pranger, fetter, pillory), or, a contrivance formerly in use throughout England and Scotland for the punishment of scolding women. It is said to have originated in the latter country. It seems to have never been a legalized form of punishment; but corporations and lords of manors in England, town councils, kirk-sessions and barony courts in Scotland assumed a right to inflict it. While specially known as the “Gossip’s or Scold’s Bridle” the branks was also used for women convicted of petty offences, breaches of the peace, street-brawling and abusive language. It was the equivalent of the male punishments of the stocks and pillory. In its earliest form it consisted of a hoop head-piece of iron, opening by hinges at the side so as to enclose the head, with a flat piece of iron projecting inwards