Egyptian-revival gold, silver, star ruby and diamond tiara, Carlo and Arthur Giuliano, circa 1895

Artists' Jewellery, Pre-Raphaelite to Arts and Crafts, Wartski, London, March 1989, no. 111 and Asprey, New York, October 1989, no. 20.

Living Diamonds, Fauna and Flora in Diamond Jewelry, the Diamond Museum, Antwerp, October 10-November 10, 2002, cover illustration and p. 107, no. 74

Charlotte Gere and Geffrey C. Munn, Artists' Jewellery, Pre-Raphaelite to Arts and Crafts, p. 148, pl. 72.

Geoffrey C. Munn, Tiaras, A History of Splendour, p. 253, pl. 227.

The 'winged globe' featured in this tiara has its origins in ancient Egypt where it was considered a symbol of protection. Placed above a doorway, it was believed to have the potency to prevent any evil from entering within. In the nineteenth century, the symbolism of the winged globe was very well understood and was found on the decorations of tombs and mausoleums as well as in jewelry.

In 1873, Christopher Dresser, the highly talented designer, published Principles of Decorative Design in London which included an engraving of an ancient Egyptian 'winged globe'. See Gere and  Munn, Artists' Jewellery,  p. 147,  pl. 99.  Although well known to Egyptian scholars, the ancient device, when found in a book of designs, reached a new audience of jewelers and goldsmiths. Nineteenth century jewelers were fond of the 'winged globe' motif and created variations of it to suit their designs. Sometimes a heart was substituted for the central globe. In the present tiara, Giuliano modified the ancient motif by moving the serpents heads flanking the center stone down to form a support.