## 4 Discussion and Conclusions  
Documentation of a monument is a fundamental step to correctly plan and perform any restoration interventions. For this reason, the 3D photogrammetry of the apsidal conch of St. Panfilo Church in Tornimparte (AQ, Italy) represented the first and essential survey to perform and made it possible to export a three-dimensional, navigable and explorable model, using an interactive file in pdf format available in this paper as supplementary material (Figure S1). The same model is also visible on Sketchfab platform using the link [[https://sketchfab.com/models/88](https://sketchfab.com/models/88) de7 bbf64944408 ad5 fbda1d6 eda141]([https://sketchfab.com/models/88](https://sketchfab.com/models/88) de7 bbf64944408 ad5 fbda1d6 eda141). As a result of the 3D photogrammetric survey, it was possible to export 2D images (i.e., orthomosaics) and to import them into CAD software for diagnosis of damage to the five panels and the vault of the apsidal conch, providing maps of the distribution of materials, weathering forms and damage categories. As far as the state of conservation of the painted surfaces is concerned, the decorated apsidal conch of St. Panfilo Church shows a significant overlap of damage pathologies probably attributable to both the executive techniques and the microclimate conditions of the site for which more detailed information can be found in the other contributions of this Special Issue [32; 33; 35; 36]. In fact, the occurrence of \"a seco\" painting areas, generally considered a less durable executive technique over time, could be responsible for most of the detachments affecting the pictorial layer. The microclimate conditions (i.e., high relative humidity) could facilitate the rising damp and surface deposition of efflorescence or sub-efflorescence with localized blistering, detachment and disintegration phenomena. Figure 10: Distribution of the damage categories for the five panels and the vault of the apsidal conch of St. Panfilo Church at Tornimparte (AQ, Italy). The bad state of conservation of these paintings could also be due to previous invasive restorations that affected the surfaces with heavy retouching and repainting. It is especially observed close to the openings of panel A and panel C where modern mortar-based materials have been used, probably leading to the occurrence of the observed degradation phenomena [37; 38; 39]. The RAK photos of the examined panels were taken to document not only the decay phenomena of the mural painting surface but the painting technique and the preparatory drawings too. As a whole, the presence of incision marks (with minor pouncing), and the boundaries of _giorate_ and _pontate_, clearly suggest the use of the _fresco_ painting technique, although in several areas the color spread was _a secco_, especially where colour loss is observed. This fact is also suggested by the presence of a _morellone_ layer under the blue sky background for the scene depicted on the panel E. _Morellone_ was typically used in the _secco_ painting technique. In this case, the blue pigment azurite (along with organic binder) was often used that easily turns into the green pigment malachite, as likely observed on panel A. In this area, thanks to the RAK photography, a clear example of rethinking depicting a monumental door and some religious buildings was observed. It is also worthy of remark that the distribution of the _giorate_ boundaries suggests that [PERSON] generally had the tendency to separate the more detailed work of the figures of the scenes from the landscapes in the background. Nevertheless, a complete identification of the _giorate_ boundaries was not possible since some of them were often hidden as a consequence of the several retouching and restoration works carried out over the centuries. The present study shows how a documentation approach based on a multianalytical approach can provide a very important starting point for the restoration work of a complex monument, such as the wall painting in the church of St. Panfilo.