There are two main reasons to this project. On the one hand, a desire to write - rewrite - the history of painting in Rome. This is the task assigned to the Corpus volumes with their plausible chronological listing and analytical study of every single artwork that we know, or merely know of - the first such large-scale critical inventory ever attempted. On the other hand, a desire to go beyond the mere rewriting of the history of painting and offer a new approach to structuring and sharing the newly-gained information. In the Atlante approach, therefore, it is not chronology but contextual accuracy that matters: the paintings, mosaics, icons and copies of lost artpieces are presented in their original context, i.e. on the walls of the sacred monuments of Rome. State-of-the-art digital technology, planimetry and 3D make the impossible come true as frescoes unfold anew on their original supports and the various decorative stages of a particular monument are made visible - and simultaneously, as the case may be - to visitors as they follow a 3D visit.