Fresco - Mezzo-fresco
Mezzo-fresco, is painted on nearly-dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster.
By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo. This technique had, in reduced form, the advantages of a secco work.
The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.