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Technology has become an important part of the conservator’s work, and we are still learning how to fully embrace it for a better practice. The main problem is lack of time for the treatment of cultural heritage and not enough knowledge in the field of technology. In this article we introduce the use of a virtual image to assist with the restoration of the painting Mater Dolorosa by a famous Slovene baroque painter Marko Layer. The painting’s complex conservation state indicated a need for a different approach when implementing procedures. Graphical documentation of the areas that needed to be removed and reintegrated was made for a transparent view of the upcoming work. To help with the removal and the reintegration process, a virtual image of the reintegrated painting and its options was made. The purpose was to get to know the painting’s specifications better. During the making of the virtual image, the painting was researched in detail in order to correctly apply the theory to practice.

The use of a virtual image as a step to the aesthetic presentation of an overpainted baroque painting