1961, J. W. Frederiks, “III. The Baroque Style. A. The Lobate Style. North-Holland. Amsterdam. Joannes Lutma Sr.”, in Dutch Silver: Embossed Ecclesiastical and Secular Plate from the Renaissance until the End of the Eighteenth Century, Dordrecht: Springer, →DOI, →ISBN, page 45:
Adam [van Vianen]'s suppleness is not only equalled, but even surpassed by [Joannes] Lutma. In fact, the lobate style, if it was not Lutma's invention, reached its highest perfection in his work.
The auricular or lobate style, known in Holland as Kwabornament and in Germany as Knorpelwerk, appears to be the only ornamental style which was developed mainly by silversmiths and found its fullest and most notable expression in silver.
The two-handled cup and cover by the Hound Sejant maker at Wadham College, Oxford, to which he compared it, shows a similar tentative application of the lobate style to an essentially English form.
The ornament in this window comprises not only Netherlandish grotesque with its characteristic combination of strapwork and scrollwork but also classical motifs in the two friezes. The two empty cartouches in the lower register (fig. II) moreover herald an entirely new fashion, that of the auricular or lobate style.
The smooth, kneaded, almost unfinished appearance of the heart-shaped relief ornament is reminiscent of the lobate style of relief decoration, known as kwabornament, which was popular in the first half of the seventeenth century.
