That Italy have been times in history has more aesthetic for importing and exporting the furniture is a fact confirmed more than if you take into account all the various “changes of ownership” that our country suffered when, before ‘ units, was divided into small statelets continually fought among the great European powers. According to the different spheres of influence so the eighteenth and early nineteenth century saw, for example France, Spain and Austria succession to the throne of costume and art by setting an approach to daily life, and even the furniture more or less accepted by the Italian mentality, with more consensus and favoritism for the French taste for Spanish one. The speech in Austria differs somewhat from the other two, because, whereas the mobile style Maria Teresa present today made by a company in Bolzano, Selva, we must not only remember that during the Enlightenment sovereign capital of the high-Adige was still part of the Austrian Empire, but also ruled that the Duchy of Milan, only the first spreading in the area between the Ticino and Adda, then also in the vast Republic of Venice, the types and formal features sober and rigorous craft over the Alps. If however the character of Italian imaginative transposing any creative message to edit it and make something better reflect its sensitivity, with absolutely yes, but illuminated by Maria Teresa, who created the conditions for a revival of intellectual and identified with a lively cultural period, it also paved the way to accommodate more properly related to the stimuli of everyday life. Needless to say, a kind of furniture such as a tabernacle The Truma image and a black g ¬ type settecen tesco refined but without excessive frills could well match the taste of Northern Italy but which, in contact with the splendor of French mobile, was necessarily having to readjust to more simplistic forms streamlining and easing the exuberant decoration. The Truma so concerned in the original version is presented in the finest central European moderation, but with well-defined artistic styles, the first of the inlay, the eighteenth century. As cabinet is characterized by extreme functionality, with over 20 between drawers and drawers, three large in the base, two to define the flap reveals that four plus one compartment and nine When lifting, running around on three sides of the central door with cornice cap. Supported by four feet onions, the piece is made of lime or plated solid alder burl chestnut and walnut, with maple fillets. The decoration, in addition to inlaid fillets that mark the position of the lock cover, handle ring, the rosette knobs and panels of the limelight and dell’antina, relies on the delicate design of the molding that the two sides ends curled inside

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