A 19^th century painting with distorted canvas (in raking light).

Lining is a drastic step, though arguably sometimes the best thing to do to a badly torn or damaged painting. Tear mending can sometimes be a preferable option, but is not always possible. 

Strip-lining or dry-lining may be appropriate for some paintings. Preventive conservation measures such as applying a dry-backing board or glazing can also be undertaken.

Lining usually involves some degree of heat, moisture or solvent coming into close proximity to the canvas and paint, and so is not undertaken without necessity. 

Old linings, which have since failed, can be reversed and replaced with a new lining. In some cases a new rigid support may be required.

The same 19th century painting after lining and restoration, including treatment to the frame.

Flaking or lifting paint can be consolidated locally with adhesive and pressure. In some cases re-stretching, the use of moisture, heat and lining processes are the most effective means of keeping paint layers intact.

Structural repairs other than lining can include repair and possible replacement of all or part of damaged stretchers and frames. 

Paintings on rigid supports such as wood, ivory or metal panels potentially involve more complex repairs and treatments. 

The paint layer is generally privileged over the support material where there is a conflict.

The process of lining, similar to some consolidation procedures, can effectively lay paint flat where it has been lifting or flaking.

Preventive conservation consultation and measures can be provided, limiting the potential causes of damage and decay. Environmental factors such as light and heat sources may require alteration.