Presents an overview of the different traditional relining processes in current use. The author examines in detail the preliminary considerations which should precede conservation decisions, focusing on lining and re-lining. First the general guiding principles for conservation are discussed, and single lining methodologies are examined, classified by the choice of adhesives. Recipes for traditional starch paste adhesives, based on animal glue, and modern synthetic thermoplastic adhesives are given. The criteria the textile support must fulfill (natural or synthetic fibres) and current technologies (hot and vacuum tables) are briefly mentioned. In the second part, the article presents treatments to the painting by A. Palomino in the parochial church of Pinto; paintings in the Church of Santo Domingo de la Laguna, Santa Cruz de Tenerife; paintings by Alberto Datas, exhibited at the Contemporary Art Center in Galicia; bream paintings at the Main Theater of Santiago de Compostela; paintings at the O’Donnell Maternity Center, Madrid; and fire-damaged (burned) paintings by Federico and Juan Echevarria. This research project report provides a final proposal for future treatments in canvas painting lining and relining.