When Jusepe de Ribera, called lo Spagnoletto, died from unrecorded causes in 1652, the memory of his appearance slowly faded as those who knew him passed on, many in the plague that devastated Naples four years later. For decades and centuries afterwards the curious and worshipful sought, in the great artist’s own works, clues to his physical and moral character. Less successful in defining his personality, scholars do seem to have found convincing evidence of self-portraiture in his paintings, and accuracy in portrayals of him in two works on paper by others. Hiding in plain sight but only recently identified as such, a self-profile of lo Spagnoletto gazes rightward in the corner of an early martyrdom, while his full frontal face stares at the viewer in one of his last paintings. Likewise overlooked, a copy of Ribera’s now lost Uffizi self-portrait certifies these candidates while disqualifying the rest, finally bringing into focus Jusepe de Ribera’s physical appearance, all reviewed, illustrated and considered in the essay.