The Missal seems to have resurfaced in the 19th century, and is briefly referenced in some works about Portuguese art, such as Almeida Garrett's essay that accompanies his libertine poem "O Retrato de Vénus" (1821), Cirilo Volkmar Machado's "Colecção de Memórias" (1823), Francisco de São Luís Saraiva's "Lista de Alguns Artistas Portugueses" (1839), and Atanazy Raczyński's "Les Arts en Portugal" (1846). However, it was only following the International Exposition of 1867, when it was exhibited in Paris, that it rose to greater prominence: it caused such sensation that a faithful chromolithographic facsimile was soon after published by popular demand, following a public subscription that included nearly all the crowned heads and art academies in Europe. This facsimile, published by the Parisian firm Maciá &amp; Cie. on behalf of the Portuguese government and with the approval of the vice-president of the Academy of Sciences, the Marquis of Ávila and Bolama, was dedicated to Ferdinand II of Portugal, himself a noted artist and connoisseur.