Edward III. obtained, besides Guienne and Gascony, Poitou, Saintonge and
Aunis, Agenais, Perigord, Limousin, Quercy, Bigorre, the countship of
Gaure, Angoumois, Rouergue, Montreuil-sur-mer, Ponthieu, Calais, Sangatte,
Ham and the countship of Guines. John II. had, moreover, to pay three
millions of gold crowns for his ransom. On his side the king of England
gave up the duchies of Normandy and Touraine, the countships of Anjou and
Maine, and the suzerainty of Brittany and of Flanders. As a guarantee for
the payment of his ransom, John the Good gave as hostages two of his sons,
several princes and nobles, four inhabitants of Paris, and two citizens
from each of the nineteen principal towns of France. This treaty was
ratified and sworn to by the two kings and by their eldest sons on the 24th
of October 1360, at Calais. At the same time were signed the special
conditions relating to each important article of the treaty, and the
renunciatory clauses in which the kings abandoned their rights over the
territory they had yielded to one another.

See Rymer's _Foedera_, vol. iii; Dumont, _Corps diplomatique_, vol. ii.;
Froissart, ed. Luce, vol. vi.; _Les Grandes Chroniques de France_, ed. P.
Paris, vol. vi.; E. Cosneau, _Les Grands Traites de la guerre de cent ans_
(1889).

BRETON, JULES ADOLPHE AIME LOUIS (1827- ), French painter, was born on the
1st of May 1827, at Courrieres, Pas de Calais, France. His artistic gifts
being manifest at an early age, he was sent in 1843 to Ghent, to study
under the historical painter de Vigne, and in 1846 to Baron Wappers at
Antwerp. Finally he worked in Paris under Drolling. His first efforts were
in historical subjects: "Saint Piat preaching in Gaul"; then, under the
influence of the revolution of 1848, he represented "Misery and Despair."
But Breton soon discovered that he was not born to be a historical painter,
and he returned to the memories of nature and of the country which were
impressed on him in early youth. In 1853 he exhibited the "Return of the
Harvesters" at the Paris Salon, and the "Little Gleaner" at Brussels.
Thenceforward he was essentially a painter of rustic life, especially in
the province of Artois, which he quitted only three times for short
excursions: in 1864 to Provence, and in 1865 and 1873 to Brittany, whence
he derived some of his happiest studies of religious scenes. His numerous
subjects may be divided generally into four classes: labour, rest, rural
festivals a