The historical role of woven fabric as a substitute for the wooden panel on which paintings from the 15th century on have been painted is discussed. The chemical and mechanical properties of the materials involved are also evaluated. The influence of environmental conditions on canvas painting is explained. The problems inherent in materials contained by the composite (canvas painting) receive special attention because of the instability of the paint layer, and also bring into focus the anisotropic behavior of fabrics, as well as the unequal hygroscopicity of both the fabric and the thin layer of glue sizing. Other factors discussed point to strain due to stretching the support on a wooden frame prior to painting. Such preparation is certainly bound to suffer from stress relaxation and breakdown of the cellulose network in the fabric. All this causes structural weakness of the fabric, the consequence of which is that finally no other choice is left but to line the painting in order to preserve it. Lining of paintings has been practiced now for more than two centuries. But unfortunately the process has its uses and abuses. Assessment of the lining methods and materials and their compatibility are reviewed on the basis of publications by experts.