ndars of Domestic, Foreign, Spanish, Venetian,
Scottish and Irish State Papers.

Other official sources are the _Acts of the Privy Council_ (vols.
i.-xxix.); Lords' and Commons' Journals, D'Ewes' Journals, Off. Ret.
M.P.'s; Rymer's _Foedera_; Collins's _Sydney State Papers_; Nichols's
_Progresses of Elizabeth_. See also Strype's Works (26 vols.), Parker, Soc.
Publ. (56 vols.); Camden's _Annales_; Holinshed, Stow and Speed's _Chron._;
Hayward's _Annals_; Machyn's _Diary_, Leycester Corr., Egerton Papers
(Camden Soc.). For Burghley's early life, see Cooper's _Athenae Cantab._;
Baker's _St John's Coll., Camb._, ed. Mayor; _Letters and. Papers of Henry
VIII._; Tytler's _Edward VI._; Nichols's _Lit. Remains of Edward VI._;
Leadam's _Court of Requests, Chron. of Queen Jane_ (Camden Soc.) and
throughout Froude's _Hist._ No satisfactory life of Burghley has yet
appeared; some valuable anonymous notes, probably by Burghley's servant
Francis Alford, were printed in Peck's _Desiderata Curiosa_ (1732), i.
1-66; other notes are in Naunton's _Fragmenta Regalia_. Lives by Collins
(1732), Charlton and Melvil (1738), were followed by Nares's biography in
three of the most ponderous volumes (1828-1831) in the language; this
provoked Macaulay's brilliant but misleading essay. M.A.S. Hume's _Great
Lord Burghley_ (1898) is largely a piecing together of the references to
Burghley in the same author's _Calendar of Simancas MSS._ The life by Dr
Jessopp (1904) is an expansion of his article in the _Dict. Nat. Biog._; it
is still only a sketch, though the volume contains a mass of genealogical
and other incidental information by other hands.

(A. F. P.)

[1] This was the form always used by Cecil himself.

BURGKMAIR, HANS or JOHN (1473-? 1531), German painter and engraver on wood,
believed to have been a pupil of Albrecht Duerer, was born at Augsburg.
Professor Christ ascribes to him about 700 woodcuts, most of them
distinguished by that spirit and freedom which we admire in the works of
his supposed master. His principal work is the series of 135 prints
representing the triumphs of the emperor Maximilian I. They are of large
size, executed in chiaroscuro, from two blocks, and convey a high idea of
his powers. Burgkmair was also an excellent painter in fresco and in
distemper, specimens of which are in the galleries of Munich and Vienna,
carefully and solidly finished in the style of the old German school.

BURGLARY (_burgi latrocinium_; in