The principal centre of South German furniture art in the 16th century was the city of Augsburg. Woodcuts by Lorenz Stoer, who worked there at this time, may have served as the basis for the geometrical and scenographic architectural depictions on cabinets from the city. Made using selected woods shaded by means of pokerwork, these featured imaginary landscapes with various geometrical bodies and shapes among grassy and moss-grown ruins of buildings.

One of the finest surviving examples of this fantastic ornamentation is the Budapest cabinet. Its entire surface is embellished with intarsia pictures with a complicated, symbolic and allegorical content: among ruinous builds invaded by moss and grass there are different animals, plants and fruits, all of which convey an allegory of passing.

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