The function of woven fabric as a substitute for the wooden panel on which paintings from the 15th century onwards have been painted is discussed in terms of historical development. The chemical and mechanical properties of the materials involved therein are also evaluated. The influence of environmental conditions on canvas paintings is explained. The problems inherent in the materials contained in the composite canvas painting receive special attention because of the instability of the paint layer, the anisotropic behavior of fabrics, as well as the unequal hygroscopicity of both the fabric and the thin layer of sizing glue. Other factors point to strain caused by stretching the support on a wooden frame prior to painting. Such a 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 is not new; it has been practiced now for more than two centuries. Unfortunately, the lining process also has disadvantages. Assessment of the lining methods and materials and their compatibility is reviewed on the basis of publications by experts. Concerns are raised by the author as to the role, as well as the misunderstanding of canvas as a support for paintings currently being executed by modern artists.