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.
See E.C. Baldwin, Branford Annals, in Papers of New Haven Colony Historical Society (New Haven, 1882 and 1888).
BRANGWYN, FRANK (1867- ), 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 Scolding-Bridle, 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 so as to fit into the mouth and press the tongue down. Later it was made, by a multiplication of hoops, more like a cage, the front forming a mask of iron with holes for mouth, nose and eyes. Sometimes the mouth-plate was armed with a short spike. With this on her head the offending woman was marched through the streets by the beadle or chained to the market-cross to be gibed at by passers. The date of origin is doubtful. It was used at Edinburgh in 1567, at Glasgow in 1574, but not before the 17th century in any English town. A brank in the church of Walton-on-Thames, Surrey, bears date 1633; while another in a private collection has the crowned cipher of William III. The Ashmolean Museum at Oxford, the Scottish National Museum of Antiquities at Edinburgh, the towns of Lichfield, Shrewsbury, Leicester and Chester have examples of the brank. As late as 1856 it was in use at Bolton-le-Moors, Lancashire.
See W. Andrews, Old Time Punishments (Hull, 1890); A.M. Earle, Curious Punishments of Bygone Days (Chicago, 1896).
BRANT, JOSEPH (1742-1807), American Indian chief of the Mohawk tribe, known also by his Indian name, Thayendanegea, was born on the banks of the Ohio river in 1742. In early youth he attracted the attention of Sir William Johnson, who sent him to be educated by Dr Eleazar Wheelock at Lebanon, Conn., in Moor’s Indian charity school, in which Dartmouth College had its origin. He took part, on the side of the English, in the French and Indian War, and in 1763 fought with the Iroquois against Pontiac. Subsequently he settled at Canajoharie, or Upper Mohawk Castle (in what is now Montgomery county, New York), where, being a devout churchman, he devoted himself to missionary work, and translated the Prayer Book and St Mark’s Gospel into the Mohawk tongue (1787). When Guy Johnson (1740-1788) succeeded his uncle, Sir William, as superintendent of Indian affairs in 1774, Brant became his secretary. At the outbreak of the War of Independence, he remained loyal, was commissioned colonel, and organized and led the Mohawks and other Indians allied to the British against the settlements on the New York frontier. He took part in the Cherry Valley Massacre, in the attack on Minisink and the expedition of General St Leger which resulted in the battle of Oriskany on the 6th of August 1777. After the war he discouraged the continuance of Indian warfare on the frontier, and aided the commissioners of the United States in securing treaties of peace with the Miamis and other western tribes. Settling in Upper Canada, he again devoted himself to missionary work and in 1786 visited England, where he raised funds with which was erected the first Episcopal church in Upper Canada. His character was a peculiar compound of the traits of an Indian warrior—with few rivals for daring leadership—and of a civilized politician and diplomat of the more conservative type. He died on an estate granted him by the British government on the banks of Lake Ontario on the 24th of November 1807. A monument was erected to his memory at Brantford, Ontario, Canada (named in his honour) in 1886.
See W.L. Stone, Life of Joseph Brant (2 vols., New York, 1838; new ed., Albany, 1865); Edward Eggleston and Elizabeth E. Seelye, Brant and Red Jacket in “Famous American Indians” (New York, 1879); and a Memoir (Brantford, 1872).