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Source Description

A richly decorated burse (purse) to hold the monarch's Great Seal of the Realm has a traditional role in the opening of parliament. The safekeeping of the seal was the responsibility of the Keeper of the Great Seal, an office later incorporated into the role of Lord Chancellor. Because the Great Seal was attached to all major documents of state, it was the ultimate symbol of royal authority. The use of a special burse to hold the seal can be traced back to the end of the 13th century. By the end of the 16th century, the burse had evolved into the highly decorated, professional work of embroidery seen in this object. It includes the lion and unicorn surrounding the royal crest and is made from crimson velvet. Burses were replaced annually; it being a "perk" of office that the Lord Chancellor and Keeper of the Great Seal was allowed to keep the fragments of the old seal and accompanying burse. Portraits of Lord Chancellors, from the Tudor period onward, depict them with their burse. Cleveland’s collection includes one such portrait by American artist Gilbert Stuart (1755–1828) of Irish Lord Chancellor John FitzGibbon, 1st Earl of Clare (1748–1802) who was Lord Chancellor from 1789 to 1802. Baron FitzGibbon’s portrait (1919.910) is on view in gallery 204.

Scholar Source Context

Document identity
localId
95659
label
Lord Chancellor's Burse (Purse) with Royal Cypher and Coat of Arms of George III
core
obj
dtoType
object
pageCount
1
Source metadata
id
95659
contentType
object
title
Lord Chancellor's Burse (Purse) with Royal Cypher and Coat of Arms of George III
description
A richly decorated burse (purse) to hold the monarch's Great Seal of the Realm has a traditional role in the opening of parliament. The safekeeping of the seal was the responsibility of the Keeper of the Great Seal, an office later incorporated into the role of Lord Chancellor. Because the Great Seal was attached to all major documents of state, it was the ultimate symbol of royal authority. The use of a special burse to hold the seal can be traced back to the end of the 13th century. By the end of the 16th century, the burse had evolved into the highly decorated, professional work of embroidery seen in this object. It includes the lion and unicorn surrounding the royal crest and is made from crimson velvet. Burses were replaced annually; it being a "perk" of office that the Lord Chancellor and Keeper of the Great Seal was allowed to keep the fragments of the old seal and accompanying burse. Portraits of Lord Chancellors, from the Tudor period onward, depict them with their burse. Cleveland’s collection includes one such portrait by American artist Gilbert Stuart (1755–1828) of Irish Lord Chancellor John FitzGibbon, 1st Earl of Clare (1748–1802) who was Lord Chancellor from 1789 to 1802. Baron FitzGibbon’s portrait (1919.910) is on view in gallery 204.
date
1700s
rights
CC0
rightsUri
CC0
language
en
wikidata
Q79477601
genreSpecific
Velvet
imageCount
1
source
import
dimensionsRaw
Overall: 78 x 50 x 5 cm (30 11/16 x 19 11/16 x 1 15/16 in.)
cul
England, 18th century
accession
1916.1366.a
Source extras
tec
red silk velvet, silk embroidery, goldwork, pearls, black beads, sequins, pendant tassels
tombstone
Lord Chancellor's Burse (Purse) with Royal Cypher and Coat of Arms of George III, 1700s. England, 18th century. Red silk velvet, silk embroidery, goldwork, pearls, black beads, sequins, pendant tassels; overall: 78 x 50 x 5 cm (30 11/16 x 19 11/16 x 1 15/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1366.a
collection
Textiles
citations
citation
F. M. [Morris, Frances]. "Embroideries and Lace." Metropolitan Museum of Art (New York, N.Y.), and Metropolitan Museum of Art (New York, N.Y.). <em>The Bulletin of the Metropolitan Museum of Art</em>, April 1923. Vol. XVIII, no. 4.
page_number
p. 87-89
citation
Hughes, Therle. <em>English Domestic Needlework, 1660-1860</em>. New York: Macmillan, 1961.
page_number
Black and white plate 10 (referred to as figure 10 in the text)
citation
Digby, George Wingfield. <em>Elizabethan Embroidery</em>. London: Faber and Faber, 1963.
page_number
p. 72, pl. 40
citation
Preisner, Olga K. "The Art of the Needle". Exhibition catalog for exhibition of the same name at The Museum of Art, The Pennsylvania State University, State College, PA. October 23-December 21, 1980
page_number
cat. no. 42
citation
Haertig, Evelyn. <em>Antique Combs &amp; Purses</em>. Carmel, Calif: Gallery Graphics Press, 1983.
page_number
pl. 2, fig. 4, p. 154
citation
Swain, Margaret H. <em>Scottish Embroidery: Medieval to Modern</em>. London: Batsford, 1986.
page_number
p. 46, fig. 27
citation
Arthur, Liz. 1995. "Seventeenth-Century Embroideries in the Burrell Collection." <em>The Magazine Antiques</em> June 1995.
page_number
pp. 854-863
citation
Synge, Lanto. <em>Art of Embroidery: History of Style and Technique</em>. Woodbridge. England: Antique Collectors' Club, 2001.
page_number
p. 104, pl. 89
citation
Morrall, Andrew, Melinda Watt, and Cristina Balloffet Carr. <em>English Embroidery from the Metropolitan Museum of Art, 1580-1700: 'twixt Art and Nature</em>. New York: Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, 2008.
page_number
p. 138-141, cat. no. 15
citation
Arthur, Liz. <em>Embroidery, 1600-1700, at the Burrell Collection</em>. London: John Murray, 1995.
page_number
plate 5 , p. 20
creditline
Gift of Mr. and Mrs. J. H. Wade
updatedAt
2026-05-29 05:08:23.872000
sourceId
95659
dept
Textiles
coll
Textiles
med
red silk velvet, silk embroidery, goldwork, pearls, black beads, sequins, pendant tassels
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
b642d31765b98c96