Fresco and wall painting
Attempts to reproduce the original technique of a Roman wall painting were unable to achieve execution on pontate with overlapping pontate joints, but had to be painted with giornate –with clean-cut giornate joints–, according to the the Renaissance fresco technique (Alix Barbet. Une fresque a la romaine. Archéologia No. 392, 2002 p. 31). Hypotheses of frescoes painted on pontate find it difficult to explain how Roman artists were able to execute, with fresco, wall paintings of great size and extreme complexity –like those of the third and fourth Pompeiian styles– without dividing them in giornate. In contrast, the modern fresco masters from Giotto onward, with their advanced skills, technical backgrounds, and well-trained teams of assistants, needed to divide their fresco paintings into giornate causing visible joints and problems with evenness of tone.