Peter Burke thinks that in Central Europe in the eighteenth century there was a rural or peasant Baroque, which was probably about a whole century later than the original Baroque period. The peasant art of the time in Norway and Sweden borrowed motifs from the Renaissance, Baroque and Rococo periods (Burke 1991: 59). Kus-Nikolajev differentiates peasantised Baroque from rural Baroque, which are considered in the framework of different studies, Croatian Peasant Baroque (1929) and Forms of Rural Culture (1934).

In a study about chests from the holdings of the Ethnographic Museum in Split, Branka Vojnić Traživuk is of the opinion that the Dalmatian chest can be considered an occurrence of rustic Baroque, which appeared much later than the original style, open to the reworking and new impulses of neo-Baroque trends (Vojnović Traživuk 2010: 34).In a way it followed the painted decoration of furniture in central Europe during the 19th century that on the one hand aspired to the realism of its floral motifs and on the other hand the stylisation of floral garlands (Večerkova 1980: 31).

In the furniture collection of the Ethnographic Museum in Zagreb there are chests with diverse painted flowers, from those with one row of petals to complexly blooming roses, from buds to flowers like tulips. They are incorporated into compositions with scrolling branches with long green leaves. This motif is thought to derive from the Renaissance, but in the 19th century was typical of furniture all over Europe. Chests with lids painted inside and fronts carved with almost the same motifs were characteristic of the Adriatic area, particularly Dalmatia. In Slavonia the appearance of Baroque art was influenced by the political and demographic changes of the end of the 17th and the early 18th century, by, that is, the colonization of the area by Germans, Hungarians, Slovaks and Czechs, as well as by part of the population from the regions still under Turkish occupation, which brought their artisan trades with them.