Rohde's works thus contain a host of references to Danish and international fine and decorative art, often deriving from his many travels both in Denmark and abroad. The many and varied impulses impact on each other with the result that the symbolist, decorative quality, the flowing, ethereal expression and the Classical stylistic features - along with the textural, formal and motivic variations that they represent - together constitute the core of Rohde's very personal idiom. In order to develop the idea of one, unified art, ARS UNA, he illustrates the coherence between the individual forms of art - including similarities in form and materials: Rohde often has simple, architectonic forms and volumes as a recurrent motif in both paintings and decorative art. The painted motifs contain both traces of the world created by mankind - bridges, houses, ancient ruins and ships - and of nature with its organic, decorative forms. The arched bridge in the landscape is encountered again as arched, tensed lines in his furniture; the houses in the paintings are given cubic shapes not unlike the drawers in his chests of drawers; the column motif in the paintings is found again as a classical element in his furniture and silver.
Another recurrent motif in his paintings is reflections on water. Not only does this mirror visual nature, but the reflection on the water becomes the surface on which nature is reflected, though in a veiled and intangible form. Mirroring as an element that dissolves form is also to be found in his silver, where beaten silver reflects the surrounding room in a diffuse flicker. The facetted surface in the silver is reminiscent of the structure in his paintings, where the paint is dissolved into facets. Even in his furniture, the material is the striking element; on broad areas the structure and the play in the veins in the wood and faces emerge with a life of their own, and the colour of the wood becomes a painterly element, for instance the pale lemonwood as against the darker woods or the play of colour in his intarsia decorations. Likewise, the large, unbroken surfaces in the furniture can be seen as a counterpart to Rohde's decorative, surface-oriented painting.
The correspondences in the idiom are legion, and Rohde's works constitute a powerful contribution to the maxim ARS UNA - SPECIES MILLE in that his works are outstanding illustrations of the countless links between painting, furniture, silver and book craft.