Fresco and wall painting



It is very difficult to even the tones applied on different days and on different plaster. Thit is why giornate joints tend to follow figures outlines, thus avoiding continuity of colour fields between new and old intonaco. Unlike frescoes from Renaissance onward, with their characteristics tone differences of tone between both sides of a giornate joint, Roman wall paintings do not show discontinuity of colour between contiguous pontate, which indicates that pontate surface were dry when painted.