This upright character of the Gothic cup is well emphasized in the beautiful enamelled cup belonging to the corporation of King’s Lynn (Fig. 166), and the horizontal features in the foot, stem, and bowl may be seen in the standing cup of Renaissance design in the Corpus Christi College, Cambridge (Fig. 165). [Illustration: Fig. 162.—German Chalice, with Paten; 1520.] [Illustration: Fig. 163.—Spanish Chalice; 1549.] The base of the Gothic cup splays outwards from the knot downwards, while the Renaissance base mouldings may be enclosed by a line of the opposite curvature, forming a dome of a semicircular section; and lastly the calyx of the bowl of the latter cups is always a richly ornamented feature, in opposition to the plain or almost plain bowl and calyx of the Gothic varieties. Many Gothic cups and hanaps show decided architectural constructions, as may be noticed in some of the illustrations, and some have quite a landscape treatment, as in the curious gilt metal hanap (Fig. 167), which is probably of Nuremberg manufacture. [Illustration: Fig. 164.—English Chalice, Corpus Christi College, Oxford; 1507. (C.)] Clocks were also objects which received a pronounced architectural treatment. A favourite design was a church tower, or a fortified tower, embattled, and having a spreading base, in which were open archways. [Illustration: Fig. 165.—Standing Cup, Corpus Christi College, Cambridge; 1599. (C.) ] [Illustration: Fig. 166.—Enamelled Cup at King’s Lynn; 1350. (C.) ] The goldsmiths of Italy in the sixteenth century were painters and architects as well, and a decided architectural construction is clearly seen in most of the gold and silver-smithery of this period. The monstrance (Fig. 168) is a good illustration of this, and another is the pax (Fig. 169). The church altar furniture and silver plate of the period also partook of the prevailing architectural features. [Illustration: Fig. 167.—Hanap; German. (S.K.M.)]