A chalice with paten and ladle silver chalice with decoration en relief "Leaves", gilt chalice interior and part of the paten Italian signs of use chalice with Rome assay mark by Carlos Modesti (1696-1718), without Portuguese marks, pursuant to Decreto-Lei nº 120/2017, of September 15th - art. 2nd, no. 2, paragraph c) Dimensões (altura x comprimento x largura) - (cálice) 24,2 cm; Peso - (total) 569 g. Notes: The chalice in matter belongs to a typology that, for convenience, we call overlapping acanthus leaves, as this is the distinctive decorative motif that characterizes the false cup of the known copies. Copies are recognized in Italian churches and museums, and in Portugal, two have been identified to date, belonging respectively to the Diocese of Portalegre-Castelo Branco and to the collection of the National Palace of Queluz, both by Antonio Arrighi (1687-1776), the goldsmith who worked most for our country during the reign of King D. João V. Chalices, Antonio Arrighi (1687-1776), respectively Diocese of Portalegre-Castelo Branco and National Palace of Queluz (inv. PNQ 638). The chalices in matter are generally identical, clearly demonstrating the adoption of the same design and their production according to the same model. A quick search identified more than two dozen chalices similar to this one, made over half a century, specifically between 1696 and 1744. The chronologically earliest pieces originate from two workshops: that of partners Bartolomeo Colleoni (1633-1708) and Michele Borgiani (1658-1732) and the Arrighi family workshop, where Giovanni Francesco Arrighi (1646-1730) and his son Antonio work. In the first, the activity continued, after Bartolomeo's death, with Michele Borgiani, patent holder since 1697, and then with Agostino Colleoni (1663-1746), Bartolomeo's nephew, and all these goldsmiths worked for the Portuguese commission (VALE 2014 and VALE 2016). From the copy collected, the Colleoni workshop appears to be the largest producer and, consequently, the largest disseminator of this model. Associated with the authorship of three members of the same family are 17 chalices of this type, which highlights not only their success, but also the workshop's ability to replicate them, which is not unrelated to their relative simplicity, combined with a timeless decorative solution: acanthus leaves. It can be seen that this typology, which dates back to the last years of the 17th century, continued to be used until the 1940s, re-proposing a formula that continued to be well received by customers, despite its characteristics which, in the context of the Roman Settecento, could be considered archaic, but which continued to be effective for a piece intended for everyday use. This chalice dates back to the earliest chronology, within the aforementioned temporal arc, as it has (on the lower face of the base and on the false cup) the so-called camerale (the mark of the Reverend Apostolic Chamber) in use by the assayer Carlo Modesti (1661-1737), between the years 1696 and 1700 (BULGARI 1958 and BULGARI CALISSONI 1987). Chalices, made between 1696 and 1719, by the goldsmiths Bartolomeo Colleoni (1633-1708), Michele Borgiani (1658-1732), Agostino Colleoni (1663-1746), Italy, various locations (dioceses of Arezzo-Cortona-Sansepolcro, Città di Castello and Pesaro). The fact that no goldsmith's mark was found makes it impossible to attribute a specific authorship, which, however, is undoubtedly located in a Roman environment, as attested by the RCA mark, as well as the compositional and plastic characteristics of the piece itself. Taking into account the universe of similar chalices identified, the copy  under analysis can be approximated to the production of Bartolomeo Colleoni and Michele Borgiani, as it presents a vegetal decoration on the base, common to several copies produced by this workshop, the only aspect that differentiates them from those made in the context of the Arrighi family workshop, which often display decoration on their bases that preferably resort to geometric motifs. This is in fact the option observed in the two chalices of this type, designed by Antonio Arrighi, which exist in Portugal. It should be noted, however, that in the absence of a goldsmith's mark, any proposal of authorship is a mere attribution.