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 After the failure of the flight to Varennes, in the arrangement of which he had a share, Breteuil received instructions from Louis XVI., designed to restore amicable relations with the princes. His distrust of the king’s brothers and his defence of Louis XVI.’s prerogative were to some extent justified, but his intransigeant attitude towards these princes emphasized the dissensions of the royal family in the eyes of foreign sovereigns, who looked on the comte de Provence as the natural representative of his brother and found a pretext for non-interference on Louis’s behalf in the contradictory statements of the negotiators. Breteuil himself was the object of violent attacks from the party of the princes, who asserted that he persisted in exercising powers which had been revoked by Louis XVI. After the execution of Marie Antoinette he retired into private life near Hamburg, only returning to France in 1802. He died in Paris on the 2nd of November 1807.

 BRÉTIGNY, a French town (dept. Eure-et-Loir, arrondissement and canton of Chartres, commune of Sours), which gave its name to a celebrated treaty concluded there on the 8th of May 1360, between Edward III. of England and John II., surnamed the Good, of France. The exactions of the English, who wished to yield as few as possible of the advantages claimed by them in the treaty of London, made negotiations difficult, and the discussion of terms begun early in April lasted more than a month. By virtue of this treaty Edward III. obtained, besides Guienne and Gascony, Poitou, Saintonge and Aunis, Agenais, Périgord, 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.

 BRETON, JULES ADOLPHE AIMÉ LOUIS (1827–), French painter, was born on the 1st of May 1827, at Courrières, 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 and religious festivals. Among his more important works may be named “Women Gleaning,” and “The Day after St Sebastian’s Day” (1855), which gained him a third-class medal; “Blessing the Fields” (1857), a second-class medal; “Erecting a Calvary” (1859), now in the Lille gallery; “The Return of the Gleaners” (1859), now in the Luxembourg; “Evening” and “Women Weeding” (1861), a first-class medal; “Grandfather’s Birthday” (1862); “The Close of Day” (1865); “Harvest” (1867); “Potato Gatherers” (1868); “A Pardon, Brittany” (1869); “The Fountain” (1872), medal of honour; “The Bonfires of St John” (1875); “Women mending Nets” (1876), in the Douai museum; “A Gleaner” (1877), Luxembourg; “Evening, Finistère” (1881); “The Song of the Lark” (1884); “The Last Sunbeam” (1885); “The Shepherd’s Star” (1888); “The Call Home” (1889); “The Last Gleanings” (1895); “Gathering Poppies” (1897); “The Alarm Cry” (1899); “Twilight Glory” (1900). Breton was elected to the Institut in 1886 on the death of Baudry. In 1889 he was made commander of the Legion of Honour, and in 1899 foreign member of the Royal Academy of London. He also wrote several books, among them Les Champs et la mer (1876), Nos peintres du siècle (1900), “Jeanne,” a poem, Delphine Bernard (1902), and La Peinture (1904).

 BRETON, or, NICHOLAS (1545?–1626), English poet, belonged to an old family settled at Layer-Breton, Essex. His father, William Breton, who had made a considerable fortune by trade, died in 1559, and the widow (née Elizabeth Bacon) married the poet George Gascoigne before her sons had attained their majority. Nicholas Breton was probably born at the “capitall mansion house” in Red Cross Street, in the parish of St Giles without Cripplegate, mentioned in his father’s will. There is no official record of his residence at the university, but the diary of the Rev. Richard Madox tells us that he was at Antwerp in 1583 and was “once of Oriel College.” He married Ann Sutton in 1593, and had a family. He is supposed to have died shortly after the publication of his last work, Fantastickes (1626). Breton found a patron in Mary, countess of Pembroke, and wrote much in her honour until 1601, when she seems to have withdrawn her favour. It is probably safe to supplement the meagre record of his life by accepting as autobiographical some of the letters signed N.B. in A Poste with a Packet of Mad Letters (1603, enlarged 1637); the 19th letter of the second part contains a general complaint of many griefs, and proceeds as follows: “hath another been wounded in the warres, fared hard, lain in a cold bed many a bitter storme, and beene at many a hard banquet? all these have I; another imprisoned? so have I; another long been sicke? so have I; another plagued with an unquiet life? so have I; another indebted to his hearts griefe, and fame would pay and cannot? so am I.” Breton was a facile writer, popular with his contemporaries, and forgotten by the next generation. His work consists of religious and pastoral poems, satires, and a number of miscellaneous prose tracts. His religious poems are sometimes wearisome by their excess of fluency and sweetness, but they are evidently the expression of a devout and earnest mind. His praise of the Virgin and his references to Mary Magdalene have suggested that he was a Catholic, but his prose writings abundantly prove that he was an ardent Protestant. Breton had little gift for satire, and his best work is to be found in his pastoral poetry. His Passionate Shepheard (1604) is full of sunshine and fresh air, and of unaffected gaiety. The third pastoral in this book—“Who can live in heart so glad As the merrie country lad”—is well known; with some other of Breton’s daintiest poems, among them the lullaby, “Come little babe, come silly soule,” —it is incorporated in A. H. Bullen’s Lyrics from Elizabethan Romances (1890). His keen observation of country life appears also in his prose idyll, Wits Trenchmour, “a conference betwixt a scholler and an angler,” and in his Fantastickes, a series of short prose pictures of the months, the Christian festivals and the hours, which throw much light on the customs of the times. Most of Breton’s books are very rare and have great bibliographical value. His works, with the exception of some belonging to private owners, were collected by Dr A. B. Grosart in the