The reappearance of this picture makes it possible to add it to the six surviving works (either signed or documented) by this Sevillian painter. It is, besides, an institutional portrait of great importance and the only one mentioned by Ceán Bermúdez in his Dictionary. The work is not signed but the reconstruction of its history from the moment when it belonged to the Cardinal until the present corroborates its iconographic and stylistic identification. In this essay the painting by Tovar is rediscovered, some of the details present there are interpreted in their original context and comparisons with other portraits of this pioneer of the Spanish pre-Enlightment are made.