Laboratory invasive methods1. Introduction Within the Romand area of Switzerland, between 1924 and 1947, the well-known Italian artist Gino Severini (Cortona, 1883 aris, 1966) decorated 5 churches inside the context of a Catholic art renewal promoted by the Groupe de Saint-Luc [1,2]. Regardless of Severini’s fame as cubist and futurist easel painting artist [3], his murals in Switzerland usually are not well-known and have by no means been studied from the technical point of view. To fill this gap, a 4-year multidisciplinary analysis project (2018022) entitled “Gino Severini in Switzerland: mural paintings and Catholic art revival on the Groupe de Saint-Luc” is ongoing. This project is coordinated by the University of Applied Sciences and Art of Southern Switzerland (SUPSI), in collaboration using the Bern University on the Applied Sciences and the University of Lausanne [4,5]. Through an interdisciplinary method that requires historical and (-)-Syringaresinol MedChemExpress archival investigation, visual examination, and scientific investigations, the project aims to supply a extensive and systematic study in the religious wall paintings by Gino Severini in Switzerland [6,7]. The initial engagement of Severini in Switzerland was in 1924 for the decoration from the Church of Saint Nicolas de Myre at Semsales inside the Canton Fribourg (Figure 1) [8]. SeveriniPublisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affiliations.Copyright: 2021 by the authors. Licensee MDPI, Basel, Switzerland. This article is definitely an open access post distributed beneath the terms and circumstances of your Inventive Commons Attribution (CC BY) license (https:// creativecommons.org/licenses/by/ four.0/).Appl. Sci. 2021, 11, 9161. https://doi.org/10.3390/apphttps://www.mdpi.com/journal/applsciAppl. Sci. 2021, 11,two ofused unique media to decorate this church: paintings on walls and on wood, mosaics, stone carving and ceramics. This research focused on the figurative wall paintings: the Trinity (within the apse), the Eucharist (inside the presbytery), the monumental figures of Saint Nicolas and Saint Sebastian (around the north and south sides of your triumphal arch), the Virgin and Kid and also the Holy Household (around the finish walls of aisles) (Figure two). A thorough description of Severini’s artistic processes provided by the technical examination from the wall paintings integrated with archival research is presented in Iazurlo et al. [9].Figure 1. Exterior views on the Church of Saint Nicolas de Myre at Semsales within the Canton Fribourg. (a) Rural place on the church; (b) entrance with all the Crucifixion in ceramic glazed tiles and carved stone portal by G. Severini.Figure 2. (a) Church strategy with indication on the wall paintings’ areas: 1. Trinity (6.7 m 5.six m) (b); two. Eucharist (six m 2.two m) (c); 3. Saint Nicolas (1.7 m 4 m) (d) 4. Saint Sebastian (1.7 m four m) (e); 5. Virgin and Youngster (two.5 m 1.eight m) (f); six. Holy loved ones (two m 2.6 m) (g). Orthophotos by Arch tech SA �SUPSI.Severini was pretty interested in, and frequently adopted, the regular and challenging a fresco strategy to paint on walls. Strictly speaking, this method doesn’t involve the usage of organic binders, but pigments are bound by the approach of carbonation of a freshly applied lime plaster patch (giornata). To paint a fresco needs practice, abilities and generally artists would full their works by painting portions a secco, i.e., just after the lime plaster has set and using an additional binder: either lime, an organic material such asAppl.