Towards the close of the Gothic and during the earlier phases of the Renaissance movement in this country, enormous quantities of gold and silver began to be employed in making these _custodias_ or monstrances of her temples; so that the fifteenth century may well be called, in Spanish craftsmanship, the "age of the _custodia_." A century ago the reverend Townsend, loyal to the Low Church prejudices of his day, spoke of this object with something of a sneer as "the depository of the Host, or, according to the ideas of a Catholic, the throne of the Most High, when, upon solemn festivals, He appears to command the adoration of mankind." Riaño's description is more technical. "The name of _custodia_," he says, "is given in Spain, not only to the monstrance or ostensoir where the Blessed Sacrament is exposed, but also to a sort of temple or tabernacle, of large size, made also of silver, inside which is placed the monstrance, which is carried in procession on Corpus Christi day (Plate xvi.). In order to distinguish these objects one from another, the name of _viril_ is given to the object which holds the consecrated Host; it is generally made of rock crystal, with a gold stem and mount ornamented with precious stones. The small tabernacles are generally objects of the greatest importance, both from their artistic and intrinsic value." A third description of the monstrance, written in quaint and antiquated Spanish verse by Juan de Arfe, is truthfully if not melodiously translated into English rhyme by Stirling:-- "Custodia is a temple of rich plate, Wrought for the glory of our Saviour true, Where, into wafer transubstantiate, He shows his Godhead and his Manhood too, That holiest ark of old to imitate, Fashioned by Bezaleel, the cunning Jew, Chosen of God to work His sov'ran will, And greatly gifted with celestial skill."[54] [54] _Op. cit._, p. 159, note.