Cleaning and provisional restoration treatments on The Crucifixion (1425) revealed that the visible azurite layer obscures an originally golden background. This leads to the question of whether or not the azurite should be removed as it is not original, or should be kept as part of the panel’s history. To overcome this dilemma, this paper presents a methodological solution of approaching this problem by combining the knowledge of art historians, restorers and by integrating modern 3D technologies before, during, and after the restoration. By creating a modifiable digital model, a virtual restoration can potentially attribute to analyzing and visualizing optical changes due to restoration treatments. Additionally, multiple 3D-printed facsimiles physicalize these adaptations. A facsimile’s value is demonstrated by analyzing the diversity of meanings an artwork can have in terms of authenticity whilst respecting the artwork's material and social integrity. The 3D prints be decisive in the restoration of the panel.@en