The article that we present refers to sculptural relations between Italy and Chile during the second half of the 19th century and the beginning of the 20th. In this specific space we will analyze the concepts of influence and transfer, both phenomena that operated in the artistic exchanges between the two Countries; we will consider the exhortations of the first director of the Chilean Academy of Painting, the Neapolitan Alessandro Ciccarelli; we will examine those sculptures that in the Chilean public space are directly linked to Italy; we will investigate the two experiences of the Museo de Copias and the Exposición del Centenario in order to collect evidence of shipments of sculptural works from Italy to Chile; finally we will deal with Nicanor Plaza and Rebeca Mate, two artists who developed a good part of their sculptural career in the Belpaese. The methodology applied for this has been of a qualitative type, taking into consideration the dialogue between the primary sources (letters, regulations, artistic press, consular and academic documents) compiled mainly between Santiago de Chile and Florence, the sculptural works present in Chilean territory that enlace to Italy, and the historical and artistic context in which they were created.El artículo que presentamos se refiere a las relaciones escultóricas entre Italia y Chile durante la segunda mitad del siglo XIX y los comienzos del XX. En este espacio concreto, analizaremos los conceptos de influjo y trasferencia, ambos fenómenos que operaron en los intercambios artísticos entre los dos países; consideraremos los exhortos del primer director de la Academia de Pintura chilena, el napolitano Alessandro Ciccarelli; examinaremos aquellas esculturas que en el espacio público chileno se vinculan directamente con Italia; investigaremos las dos experiencias del Museo de Copias y de la Exposición del Centenario para recopilar en ellas pruebas de los envíos de obras de Italia a Chile; finalmente trataremos sobre Nicanor Plaza y Rebeca Mate, dos artistas que desarrollaron buena parte de su carrera escultórica en el Belpaese. La metodología aplicada para ello ha sido de tipo cualitativa, tomado en consideración el diálogo entre las fuentes primarias (cartas, reglamentos, prensa artística, documentos consulares y académicos) recopiladas principalmente entre Santiago de Chile y Florencia, las obras escultóricas presentes en territorio chileno que enlazan con Italia, y el contexto histórico y artístico en el que fueron creadas.