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The Brandywine
The Brandywine
An Intimate Portrait

W. Barksdale Maynard
 Also by W. Barksdale Maynard
Architecture in the United States, 1800–1850
Walden Pond: A History
Buildings of Delaware in the Buildings of the United States Series
Woodrow Wilson: Princeton to the Presidency
Consumed: Rethinking Business in the Era of Mindfulness, with Andrew Benett and Ann
O’Reilly
Princeton: America’s Campus
The Talent Mandate: Why Smart Companies Put People First, with Andrew Benett and Ann
O’Reilly

Publication of this volume was assisted by a grant from the Fair Play Foundation and by a
gift from Eric R. Papenfuse and Catherine A. Lawrence.

Copyright © 2015 W. Barksdale Maynard

All rights reserved. Except for brief quotations used for purposes of review or scholarly
citation, none of this book may be reproduced in any form by any means without written
permission from the publisher.

Published by
University of Pennsylvania Press
Philadelphia, Pennsylvania 19104-4112
www.upenn.edu/pennpress

Printed in the United States of America on acid-free paper

10 9 8 7 6 5 4 3 2 1

Library of Congress Cataloging-in-Publication Data

Maynard, W. Barksdale (William Barksdale)

Brandywine : an intimate portrait / W. Barksdale Maynard.—1st ed.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8122-4677-3 (hardcover : alk. paper)
1. Brandywine Creek (Pa. and Del.)—History. 2. Brandywine Creek Valley
(Pa. and Del.)—History. I. Title.
F157.B77M39 2015
974.8'4—dc23 2014028300
To Susan, Alexander, Spencer, and Elisabeth
 Contents

Preface
American Arcadia

Chapter 1
Fish Creek in New Sweden

Chapter 2
Pride of Penn’s Woods

Chapter 3
A River Red with Blood

Chapter 4
“Rushing Water and Buzzing Wheels”

Chapter 5
Thunderous Age of Black Powder

Chapter 6
Industry and War

Chapter 7
River of Nature

Chapter 8 Literary Pastoral

Chapter 9
“Painters of True American Art”
 Appendix
Bridges of the Brandywine

Notes

Bibliography

Index

Acknowledgments

Illustration Credits
 Preface

American Arcadia

It comes down from the Welsh Mountains and twists its way
through some of the prettiest countryside in the middle states before
gushing along a rocky gorge at Wilmington and meeting tidewater.
The quintes-sential Piedmont stream, running lively over the rocks,
the Brandywine finally loses itself into the flat and featureless
Christina River, which joins the Delaware Bay.
Centuries ago, the Brandywine wove together two of the thirteen
colonies. Finding its source in the wooded hills of the second-largest
colony, Pennsylvania, it ended in the second-smallest, Delaware—
later the first state. Every traveler who went north to south through
colonial America crossed the Brandywine, usually in Wilmington,
often stopping to admire its phenomenally productive mills, which
made this valley a crucible of the Industrial Revolution. Finally, its
importance to the early nation was immortalized by its being the
scene of the largest land battle of the American Revolution, the
Battle of the Brandywine, fought by George Washington’s armies
around Chadds Ford, Pennsylvania, one steamy late-summer
afternoon, September 11, 1777.
From that day forward, the fame of the Brandywine has never
subsided. Early tourists came to see the battlefield and, with the
onset of the romantic movement around 1800, to delight in the
valley’s verdant beauty. Writers visited, and artists, until finally there
flourished the so-called Brandywine school of painters, centered on
Howard Pyle and N. C. Wyeth. Perhaps the most famous American
painter in the world, Andrew Wyeth, spent nearly a lifetime
portraying the Brandywine scene.
Today the Brandywine Valley is famous for its cultural institutions
and its outstanding gardens and museums, all of which derive from
a long heritage of thoughtful attention to history, pride of place, and
quality of life. So important is the Brandywine to the nation, 1,100
unspoiled acres along the creek—called Woodlawn—were recently
earmarked for inclusion, advocates fervently hoped, in a brand-new
national park, the first Delaware has ever had.
“If proponents prevail,” National Geographic reported, the country
would at last suitably honor the Brandywine “and the outsize course
that it has cut through American history.” Then in March 2013,
President Obama established First State National Monument, the
four-hundredth unit of the National Park Service. Its flagship
component is the Woodlawn tract on the Brandywine’s sinuous
shores.1

The Brandywine Paradox

A single stream, 150 feet wide, flows beneath the I-95 bridge at
Wilmington, where 200,000 drivers cross daily; but in a cultural
sense there are actually two Brandywines. One is the everyday river
that was dammed to provide power to nineteenth-century industry
and is now piped into our homes and businesses for drinking water:
a prosaic, workaday water-course we might call the Brandywine of
milling and manufactures. And then there is the other river, suffused
with historical lore and patriotic meanings, a repository for dreams
and high ideals—offering romantic inspiration to poets and artists for
generations—the Brandywine of myth and memory.
As distinct as they may appear, these two Brandywines are, in
fact, inseparable. They weave and coil about each other, running
down through the centuries, and the historian must account for both
paradigms in every era, a perennial paradox.
 For example, when Washington Memorial Bridge was dedicated as
Wilmington’s civic gateway in 1922, throngs of citizens gathered by
the Brandywine to celebrate the city’s role as an expanding center of
commerce and industry, as belching smoke stacks along the lower
creek boldly attested. And yet the river of myth and memory was
lauded too, with speeches referring to the epic Battle of the
Brandywine and all the poetic associations that surround one of
America’s most storied streams. At the end, a parade of 1,200 girls
strewed flowers on the water. So did Delawareans take a holiday
from their jobs in mills and factories and the offices of chemical
corporations to pay moving tribute to their beloved river, a ceremony
that seemed almost worthy of the ancient world, when Greeks
sought to appease the old, shaggy gods and subtle nymphs that
lived along the banks of every stream in Arcadia.
The practical river, the poetical river: we will meet them both in
this book, and it is never quite clear where one begins and the other
ends. After all, it was the riches that the Brandywine fostered that
first allowed citizens leisure to enjoy it and to establish scenic parks
along its edge; that made it possible for mill owners to buy framed
pictures of their factories showing them embowered in all the
forested greenery of the landscape painter’s art; and eventually for
du Ponts to set aside vast acreage as unspoiled, idyllic tracts,
forming what we today call Chateau Country. Without these
underpinnings of wealth, the Brandywine might have languished in
obscurity, unnoticed and unheralded, like more rural rivers do—who
sings, for example, of Tug Fork River in Virginia or Conococheague
Creek in Maryland, though they are each longer than the
Brandywine? Or it might have been allowed to degenerate into a
polluted ditch, as many waterways in Megalopolis have done—
including Naamans and Chester Creeks just eastward, with ragged,
cinder block margins crowded by shopping malls and subdivisions.
Wealth encouraged the broad-minded, expansive urge to celebrate
the Brandywine and provided a means to safeguard the river
through wise preservation. So the prosaic has ultimately fed and
protected the poetic here, until the two mindsets can hardly be
disentangled (see Plate 1).
For all the significance of the Brandywine, there has been no
lengthy book about its history and culture since Henry Seidel Canby,
the best-known Delawarean man of letters, wrote The Brandywine in
the Rivers of America series (1941), with illustrations by a young
Andrew Wyeth. Pieces of the story have been told, but no modern
publication has woven together a myriad of colorful episodes, so that
they can be seen as inter-related human phenomena happening in a
single, surprisingly intimate domain. This book aims to fill that need
—to tell the fascinating story of one of America’s most appealing
small rivers.

That Lyrical Name

Everyone asks, what is the origin of the name “Brandywine”? It
dates back to the earliest years of European settlement and refers to
a popular drink of the day, Dutch distilled (or “burned”) wine,
brandewijn, nick-named “brandy.” Generations have puzzled over
how a river came to be named for a beverage. Some have claimed a
ship full of brandy sank at the mouth of the creek, and venerable
wreckage was sometimes pointed out as evidence. Others say the
name originated not with brandy, but with an early settler: a certain
Finn, Andrew Brandwyn or Braindwine, lived on the creek around
1660, about the time this stream (originally called Fish Kill or Fish
Falls) was variously renamed Brandewyn, Brainwend, or Brandywine
Creek.
But possibly Andrew derived his name from the waterway, not the
other way around. To offer two further conjectures: an orchard of
medlar trees is reported to have produced good brandy along the
lower creek in the 1670s. Or perhaps the answer lies in the
distinctive color that brandy implies: it seems plausible that settlers
were struck with how the creek’s water, following a thunderstorm
upstream, was tinted yellowish-brown with runoff as it poured into
the clearer Christina.2
 Whatever its origin, “Brandywine” is a pleasing name, one that
was profitably used to market the finely milled Brandywine flour of
the eighteenth century, Brandywine gunpowder from DuPont
factories in the nineteenth, and the Brandywine School of artists in
the twentieth—typically, a mix of purposes both pragmatic and
lyrical. The name “Brandywine Corn Meal” was considered so
valuable in the West Indies trade, local millers filed a lawsuit in 1857
to protect it. Today the marketing is aimed at tourists who come to
see the attractions advertised by the Brandywine Conference and
Visitor’s Bureau and the bucolic art at the Brandywine River Museum
of Art.
By the way, is it a creek or a river? The Brandywine is of in-
between size, and both usages have their adherents. “You may call it
a stream, a creek, or a river with equal propriety,” historian Wilmer
MacElree assured an audience in 1911. “The government insists on
calling it a ‘river,’” a Wilmington newspaper complained in 1944,
preferring “creek” as more traditional. In fact, all the very early
accounts label it a creek—as stream scientists still tend to—but a
1768 act called for “regulating the fishing in the river Brandywine,”
and in recent years that term has gained the upper hand.3
But surely the ribbon-like Brandywine in its leafy valley barely
qualifies as a “river” when compared with great neighboring
waterways: its 325 square miles of drainage are dwarfed by the
Delaware River with 12,809 square miles and, to the west, the
mighty Susquehanna River with 27,580. Probably no other American
river of such petite scale is so famous. Although little, it is unusually
varied: going upstream, one passes the abandoned, red-brick
factories of Wilmington, the wooded ravine at Hagley, swamps
teeming with bullfrogs at Chadds Ford, breathtakingly beautiful
horse country near Embreeville, a roaring steel mill at Coatesville,
and eventually Amish farms where cattle cool themselves in the
creek in a scene that looks nineteenth-century.
And the Brandywine’s moods are varied: a novelist described it in
1845 as
Other documents randomly have
different content
"Go?" Johnson shrugged, then stretched and yawned widely. "I
guess it went all right. I haven't seen Danny or Flip for forty years.
Wonder what ever happened to them?"
"Ended up in jail, most likely. But what about the crisis? Did you
succeed in avoiding it?"
"Crisis?" Johnson peered at him through narrowed lids. "Are you
daft, man? What crisis could there possible be in a bunch of kids
getting together in a corner sweet shop?"
"But...." Cavendish shook his head. "Things did change!"
"What changed? Name me one concrete thing that's different than it
used to be."
"I...." He shook his head. "I can't."
"Of course you can't. And for the very simple reason that nothing did
change. I'm still the same man I always was. And you'd better start
coming up with some concrete benefits from this gadget of yours.
You know I put myself into hock to raise the money you needed—I
told my wife I was adding another franchise to my line. If she finds
out her jewels were hocked for me to play around with a time
machine, instead of a new line of cars, she'll flip. So how about it,
Cavendish? Some concrete results next time."
Cavendish went to the bar and returned with a generous slug of
whisky.
"What's this?" said Johnson.
"Why, your drink."
"Drink?" He snorted. "You know I don't drink, man. Have you gone
completely daft? I haven't touched alcohol since I was a youngster."
Cavendish seemed near tears. He drank the whisky himself, then
turned back to the machine.
"What are you up to now?"
"I'm looking for a suitable crisis point." The screen wavered, then
filled with a group of men in uniform—heavy winter garb. They were
clustered around a small fire in a cave; one seemed to be heating
coffee in a tin can. Johnson sucked in his breath.
"You know what is going to happen?"
"Yes, dammit! You're a devil!"
"Perhaps." He sighed. "I sometimes wonder.... But no matter." He
adjusted the picture, and events flowed forward a few hours. The
soldiers were now at the base of a snow-covered hill. Above them,
gaunt and bare, the timber-line beckoned with obscenely stretching
limbs.
Suddenly a flare shot up from someplace to the right of the little
band. Its eerie glare picked out unexpected shadows among the
trees above. One of the soldiers, facing the prospect of near and
immediate personal death for the first time in his life, panicked and
began spraying the tree-line with his grease gun. Branches and
splinters of wood kicked out, until the Sergeant reached out and
slapped the gun from the boy's arms.

The men waited until an unheard signal sounded; then the Sergeant
waved them on up the hill. Slowly, cautiously at first, they made
progress through the protecting trees. But then they reached the
timber-line and froze. Cursing, the Sergeant moved from man to
man, shoving them out of the false protection. At last he came to the
boy who had fired earlier. Just as the older man placed his hand on
the boy's shoulder, the boy twisted and broke away, running madly
down the hill....
"That's enough, damn you!"
Cavendish turned off the picture and came back to Johnson's side.
"They court-martialed you, didn't they?"
"You know they did," he said, dully.
"You were unlucky, that's all. Many a soldier spooks his first time
under fire. A lot of them run away."
"How many of them run right into the arms of their Commanding
General?"
"Unlucky," said Cavendish.
"They kicked me out," said Johnson, bitterly. "A dishonorable
discharge—'cowardice in the face of enemy action'. Said I was lucky
I didn't face the firing squad."
"Officers are human, too," said Cavendish. "In times of stress, they
tend to panic."
"They were 'making an example of me'," said Johnson. He laughed,
a humorless sound that grated on the ears. "Some example. It took
me twenty years to live it down."
"But people do forget, eventually."
"Not all of them."
"Shall we get on with it?"
"Of course, man. This is what I have been waiting for!" His words
were sharp and impatient.

"Hey, Art! Got a butt?"

"Yeah, sure." Art Johnson scrabbled around inside his jacket and
came out with a crumpled pack of cigarettes. He passed them over.
"Thanks, buddy. God, but it's cold here!" He stripped off one glove
and warmed the palm of his hand over the glowing coal of the
cigarette. "Now I know what they mean when they call a place
Godforsaken."
"Ease off there, you two!" Sergeant Stebbins glowered their way.
"You want every chink in Korea to hear you?"
"Sorry, Sarge," muttered the cigarette-bummer. He dropped his voice
to a whisper. "Hey, Artie! I hear some of the guys in Fox company
are making book on how many of us live through the day."
"Yeah?" Johnson shook his head. "Some characters'll bet on their
own mother's funeral."
"Or their own." The boy giggled. "Wouldn't it be funny if the winners
couldn't collect because they were all dead?"
"A real scream," said Johnson, sourly. "Look, let's change the
subject, huh?"
The boy shrugged. "Sure, Art. Anything you say."
They lapsed into silence, and Art Johnson considered the
improbable amount of circumstances that had brought him to the
base of this numbered but nameless hill half across the world from
home. There was nothing of home here, and he felt the lack mightily.
There was a very good chance that before another few hours had
passed, he would be dead. And then he would never see home
again.
He shivered. The thought frightened him. He didn't want to die. Not
that he supposed any of the other men wanted to die either. But they
were remote, other beings, alien in Art Johnson's world. What they
felt he could not guess; what he felt he knew.
And he did not want to die!
"Hey, Art!"
"Uh, what is it, Tooey?"
"Chinks, I think. Up there in the trees. God, they're sneaking down!"
"Where? Dammit, where?" He thumbed the safety of his grease gun,
and brought it up to bear on the trees. His fingers tightened around
the stock; the trigger started to depress—
Then—
Something clicked.
"Jesus, Artie, they're coming!"
Art Johnson's eyes took on a faraway look. His fingers loosened
their death grip on the gun. He shook his head.
"Artie!"
"Shut up, Tooey!" Reaching out, he slapped the boy's face. "You're
imagining things."
"But they're up there, Artie!" whimpered the boy.
"Sure they're up there. But not where you think they are. They're dug
in, in the caves. And it's going to be up to us to dig them out. Now
snap out of it!"

Suddenly a flare shot up from somewhere to their right. It whistled,

then popped, the white light hurting their night-adjusted eyes. A
moment later, Stebbins whistled and the men started moving up the
hill.
They paused at the timber-line, and Stebbins cursed, moving from
man to man and urging him out of the false protection of the trees
and onto the broad expanse of boulder-pocked snow. Above them,
another two hundred yards, black dots against the snow showed
where the caves were waiting for them. Johnson could visualize the
little slant-eyed men within. He flopped to his belly and wriggled
forward. Suddenly he stood up and dashed twenty yards, then
flopped again as bullets whined through the space occupied by his
body bare instants earlier.
He lay there, face pressed into the snow, until the muscles of his
legs started tensing of their own accord. Then he was up again, and
running for dear life.
Gun fire was bursting all around now, a seemingly solid screen of
lead pouring down from the caves. But the men were getting through
the barrier; one slammed into the rock wall beside a cave mouth and
started unlimbering grenades, tossing them in as quickly as he could
pull the pins. Seconds later a vast tongue of fire roared out, melting
the snow and scorching the barren earth beneath.
The fire probed down the hill as the side around the cave shook and
roared. The fire reached and passed over Art Johnson, lying in the
snow, fingers digging at the rock beneath.
By its orange light, the spreading circle of red around the soldier
blended into the artificial coloring of the snow.

"Just think of it!" Cavendish pounded his hand on the desk. "The
chance to go back and correct our mistakes, live our lives over
again. The opportunities missed, the chances passed up, the
decisions made wrong—all can be changed."
The man in the chair swirled the dregs of the whisky in the bottom of
the glass. "Go on, Cavendish," he said. "You're keeping my interest."
Cavendish flushed. "Thank you, Mr. Blackwell. I knew a man of your
position would not pass up an opportunity like this. Why, this is
another chance to make the world! A second chance!"
THE END
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