A mid-nineteenth century gilt tiara and brooch, formed as an interwoven branch of myrtle - symbolizing chastity - with a brooch ensuite, in original cardboard and leather circular box, underside of the lid inscribed in German, 'Grandmother Starsch's golden tiara which was worn by Aunt Johanne N., for the second time, for R's golden wedding anniversary in 1929,' together with two letters in German dated 1897 and 1898, one on the letterhead for nineteenth century German actress, Clara Meyer, tiara inner diameter 5 in, brooch 3 in high, circa 1860. 

A revived fascination with Greek and Etruscan style flourished during the mid- to late Victorian period, beginning around the 1860s. In particular, Fortunato Pio Catsellani (1794-1865), in collaboration with his two sons, produced high quality jewels in his Rome workshop with thematic inspiration from the classical repertoire including shells, garlands, rosettes, urns, amphoras, and the like. Many of their pieces were modelled after archaeological findings of the day, as tombs across Italy and Greece were excavated and reported to the public. Jewelry was wrought richly in gold with naturalistic motifs harkening back to Greco-Roman classical society and cameos were carved from a variety of natural materials including, lava, shells, and gemstones. Micromosaics produced specifically in Italy reached new heights of intricacy and delicacy, as English travelers increasingly flocked to the famous workshops in search of Grand Tour souvenirs.