## 2 Materials and Methods  
The methodology (presented in Figure 3) for carrying out the tasks mentioned above (documentation, restoration, digital preservation, and dissemination) has been validated on several types of artefacts and cultural heritage objects, originating from the church, and it begins with the documentation from an artistic and historical point of view [15; 17].  
In the first part of the methodology, the artistic and historical documentation is made by art historians and aims to certify the heritage value of the investigated monument. This is completed by using bibliographic, online, and on-site sources.  
The second stage consists of the photographic documentation of the monument; in this stage it is pursued the state-of-the-art documentation and conservation of the monument. Overview and detail high resolution photos are taken, in both visible and invisible spectrum (IR or UV), and primary information is collected for digitizing the monument.  
The three-dimensional (3D) digitization of the monument can be carried out either by photogrammetry or 3D scanning, depending on required resolution, allotted time for scanning, level of detail, etc. The textured 3D model should present the current state of conservation as accurately as possible in order to document possible future restoration interventions.  
The physico-chemical analyzes of the paint layer and the support materials should identify the composition of the pigments and help to identify the problems in the painting's support: pests, fungi, etc.  
The identification of the pigments and their synthesis in the laboratory will determine the possible restoration operations, thus, it will be possible to choose compatible materials and it will be possible to study the effect of the current materials used in the restoration of the painting layer. After the pigment compositions are obtained, they can be digitized and documented for the digital preservation of the monument.  
The digital restoration operation aims to improve the visual appearance of the monument in a virtual environment and to restore its appearance without any intervention (painted layer I) or its pristine appearance (painted layer 2--see) from the 1820s (when the church was built).  
Figure 3: Methodology.  
The digital restoration operation includes information from all stages described above: the scanned model is used to complete and remove the effects of time and other harmful factors on the monument, which is digitally repainted using digitized pigments obtained from the physico-chemical analysis. One can obtain two types of 3D models, one repainted with the initial colors and the other one painted with the current colors.  
By going through the stages described so far, a data package is obtained that corresponds to the consolidated digital preservation model, and which contains the following information:  
* Historical and artistic analysis;
* Complete photographic documentation of the monument;
* Documentation of the pigments and the state of conservation of the support of the pictorial layer;
* 3D model of the monument;
* Digitally restored 3D model.  
After the completion of the consolidated data package, some elements of it can be further used for the online promotion of the monument both on-site (through AR applications or audio guided tours) and remotely (through VR-type applications--virtual tours).  
The main goal of the previously described methodology is to preserve and digitally restore monuments in various stages of degradation. This approach is interdisciplinary, based on techniques from various fields of engineering, and is presented as follows.