Panorama of the Battle of Murten is a 19th-century Swiss national treasure that is currently not accessible to the public. The DIAGRAM project [8] of the EPFL Laboratory for ExperimentalMuseology (eM+) focuses on digitising this painting and augmenting it with additional content. An ultra-high-resolution digital twin of the panorama was produced in the first stage of the project. The next phase will include enriching the obtained image with new features and preparing it for a series of interactive museuminstallations. This master project is part of the augmentation stage of the DIAGRAM project. It focuses on creating several three-dimensional models of preserved cultural objects, depicted in the painting, and embedding them into the immersive panorama experience. The objective is to explore and visualise connections between real world museum objects and their painted two-dimensional representations, discussing the value of this contribution in the context of resulting user experience. In this work I present three different models of the selected museum items, which I created using the photogrammetry and computer graphics techniques. These models go together with a comprehensive overview of the corresponding cultural artifacts and comparisons with similar objects depicted in the Panorama of the Battle ofMurten. In addition, I propose potential design ideas describing the ways these models can be integrated into the existing Panorama+ experience created in Unreal Engine. For one of these ideas I implement a working prototype that consists of the web application connected to the Unreal Engine project with the Open Sound Control (OSC) communication protocol. The primary research goal is to provide, explain, and justify personal interpretation of the created demo experience and its effects on the viewer. The project also includes a case study of the particular selected cultural artifacts and the painter’s design choices related to them. The core ideas of this project are based on research into the history and role of the panorama and its elements in the formation ofmodern immersive experiences. Using the created 3Dmodels as a key concept of the digital "faux terrain", I evaluate the resulting panorama experience in terms of itsmain purposes, level of immersion, interactivity, and created links between the real and painted worlds.