Painting tradition is the basis of the restoration experience, and it has evolved coherently in Italy, leaving ample information on procedures. This context has partly resisted innovation, but has allowed for continuous technical improvement. Some new lining techniques are certainly advisable to avoid problems on particular works, but the older techniques, if properly carried out, present a level of compatibility and reversibility that should not be abandoned in many other cases. A sudden change in the training process for Italian restorers has created confusion about the methods to be applied. The author’s research laboratory has attempted to indicate some simple parameters for comparing the various techniques, notably those used for lining, and reach a definition of the best approaches for each method.