This paper aims to be the analysis of a series of pieces made in the late nineteenth century that copy a beautiful Portuguese plat from the sixteenth century placed in the Kunsthistorisches Museum in Vienna, according to the romantic and historicist set of mind of the silversmithing in the nineteenth century. We have found copies and imitations of the piece related to the artist Ricardo Martínez Costoya, official silversmith of the cathedral of Santiago de Compostela between 1886 and 1924; and with Karl Haas, who run the galvanoplastic atelier in the School of Applied Arts in Vienna from 1866. In this study, we will try to determine the curious iconography of the plate; and especially, we will reflect about the attributions to Martínez based on our knowledge of the artist, and the difference between the pieces we attribute to Haas.