Latz’s work is in the full rococo style, characterized by free-moving forms of an exaggerated plasticity: the commodes as well as the encoignures are bombe on all sides. The restless lines arc emphasized by highly con­torted bronze mounts, by curves and countercurves clashing one against another. These mounts some­times evoke palm trees or branches, rockwork or birds’ wings. The marquetry consists as much of stylized designs (trellis or wave motifs) as of panels of flowers in bois de bout or panels of stylized flowers. Within the latter the same elements are related: marquetry composed of circular flowers, or small pomegranate motifs in which the light tones stand out on a back­ground of darker wood with foliage of a darker tone. Bois saline is often used as a base for these marquetry panels, framed by amaranth. Finally, on a number of pieces (the Burat encoignures. those in the J. Paul Getty Museum, and the commode formerly in the Rothschild Collection), there is a very different type of marquetry, composed of sprays of realistic flowers of

the sort found on furniture by J.-F. Oeben. These pieces pose the question of possible collaboration be­tween Oeben and Latz (or his widow), unless Oeben bought up unfinished pieces in 1756 on the death of Latz’s widow which he then completed. Another possibility is the existence of the same marquetry – maker who might have worked for Latz’s workshop during these last years, between 1754 and 1756, and then for Oeben.