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Much of the collection consists of luxury objects from the 16th century. Large pieces of metalwork in silver or silver-gilt make an immediate impression in the display, and these were designed to dazzle and impress guests when used at table, or displayed in rows on a sideboard with shelves like a modern bookcase or Welsh dresser.[29] Many are very heavily decorated in virtuoso displays of goldsmiths' technique; rather too heavily for conventional modern taste.[30] They are certainly ostentatious objects designed to display the wealth of their owner, and in many cases were designed to be appreciated when held in the hand, rather than seen under glass.[31] There are a number of standing cups with a cover, many from Augsburg and Nuremberg; these were used to drink a toast from to welcome a guest, and were also a common gift presented in politics and diplomacy, and by cities to distinguished visitors. Their decoration sometimes reflected the latest taste, often drawing from designs made as prints and circulated around Europe, but there was also often a very conservative continuation of late Gothic styles, which persisted until they came to be part of a Neugotic ('Neo-Gothic') revival in the early 17th century.[32] The largest object in the bequest with a specifically Jewish connection is a silver-gilt standing cup made in Nuremberg about 1600, but by 1740 belonging to a Jewish burial society in Bratislava, as a Hebrew language inscription records.[33] The Aspremont-Lynden basin, Antwerp, 1546–47 Apart from pieces purely in metal, a number are centred on either hardstone carvings or organic objects such as horns, seashells, ostrich eggshells, and exotic plant seeds.[34] These "curiosities" are typical of the taste of the Renaissance "age of discovery" and show the schatzkammer and the cabinet of curiosities overlapping.[35] A different form of novelty is represented by a table-ornament of a silver-gilt f