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In June 1834 came to Museu Portuense one of the most controversial integrations between those determined by the liberal decrees. From the Monastery of Santa Cruz in Coimbra came an Italian inkstand, a series of Limoges enamel plaques and the famous sword of King D. Afonso Henriques. Over the next hundred years, partly due to the mythical aura of the latter, in these three objects would seem to converge all arguments from the controversy on the integration of the goods coming from the extinguished religious orders and the liberalist thought and action concerning cultural and artistic heritage. This study proposes to follow more closely the fates of these three objects and to understand to what extent these destinations are outside or constitute a paradigm of many others, as them arrived to the museums in the “whirlwind of violent passions” of that time.