This magnificent work presented a chiaroscuro effect accentuated by the accumulation of different varnishes in the darkest areas of the painting, the result of one or more selective cleanings carried out over time. In addition, it showed several overpaintings that were not very respectful of the originality of the piece. The restoration process consisted of removing the different varnishes, overpaintings and fills from areas of loss, and reinserting and reintegrating all these elements using innocuous, reversible materials that are respectful of the work. The restoration culminated in the application of a single layer of matte aerosol varnish, which prevents unwanted reflections and helps provide a better appreciation of the piece. Thanks to the restoration, the work has been returned to its original tones, revealing nuances that had previously been barely perceptible in the face and clothing of the portrayed figure. The process made it possible to restore the interlaced hands that the sitter originally had — hidden beneath extensive overpainting — although their pictorial surface showed areas of abrasion caused by rubbing. A thorough study using different infrared techniques has made it possible to restore them plausibly, but in turn with materials that are reversible and easily identifiable as later additions.