## 1 Introduction  
The work presented in this paper may be considered one of the first steps within the archaeometric project developed by the Italian Association of Archaeometry (AIAr) in the Church of St. Panfilo in Tornimparte (L'Aquila, Italy) aimed at studying the apse wall paintings attributed to the Italian master [PERSON] that were produced in his workshop in a period between 1491 and 1494 [1, 2]. The idea of the project was to study the conservation status, the original and superimposed materials and the degradation phenomena affecting the wall paintings with the aim of supporting the imminent restoration intervention. The project started in 2021 and followed a suitable approach starting from in situ documentation and investigation using different techniques that supplied relevant information on the conservation conditions, on the execution techniques and on the materials, but also helped in the selection of the points for sampling to perform subsequent laboratory analysis. Documentation of this National Monument is, in fact, the first and fundamental step required to correctly perform the restoration [3; 4; 5; 6; 7; 8; 9]. With a view to supporting the work of the restorers, 3D photogrammetry, raking light documentation and mapping of the degradation phenomena affecting the painted surfaces of the apsidal conch were performed. The standard UNI EN 16095 [10] states the importance of collecting any information concerning the state of conservation of a monument. A two-dimensional system based on the acquisition of photographs, maps and textural notes represents a common approach for the recording of sampling points, alteration phenomena and the retouching of artworks and architectural elements [11]. On the other hand, further advantages can be provided using three-dimensional models [12; 13; 14], permitting, for example, the observation of all information in a single file in which the 3D model can be easily rotated and explored. The method of 3D photogrammetry can be a valid and useful approach to obtain a 3D model that can be used as a working basis for inserting points of analysis, cleaning test areas, undertaking restoration interventions, mapping any previous interventions and, finally, viewing the paintings on platforms for sharing three-dimensional models, such as Sketchfab. Part of the technical photography documentation can be obtained by means of raking light photography (RAK). This method allows the examination of monuments and archaeological materials, including, in particular, the observation of surface features (e.g., retouchings, lacunae, etc. ), including those reflecting the painting technique, such as brush works, incision marks, as well as any other signs associated with the application of plaster and pigments [15]. The damage mapping of wall paintings is a fundamental and preliminary step in each restoration project [16]. This step, in fact, supports proper planning of correct interventions and enables evaluation of the time and cost of the entire restoration work [17]. Moreover, mapping of the damage and degradation forms can help in determining the possible causes of the damage itself [17; 18]. A well-established quantitative damage diagnosis procedure, consisting of the mapping of the materials forming the monuments, as well as the weathering forms affecting their surface, is described by the \"Natural stones and weathering\" research group of the Aachen University of Technology (Germany), which has been used and/or adapted in several case studies [19; 20; 21; 22; 23; 24; 25]. In the present investigation, the degradation phenomena of Early Renaissance wall paintings by [PERSON] were documented for the first time by means of a digital and multianalytical approach, the results of which can be easily represented or observed both by two-dimensional and three-dimensional models, as well as at different scales and levels of detail.