ABSTRACT
Lining practices originally developed to respond both to accidents and to the slow degradation of canvas paintings through damp and oxidation. The practice of paste or glue-paste lining was undoubtedly an essential activity, if only to ensure that a painting with degraded tacking edges did not become detached from its stretcher. One of the most difficult aspects in the study of glue-paste lining adhesives is the non-standard use of ingredients, proportions, working conditions, and working attitudes across both geography and time. Animal glues, flour pastes, synthetic dispersions, and other water-soluble adhesives will wet the canvas and size layer effectively but less so the paint. However, the common materials of all European glue-paste adhesive recipes were animal glue, cereal-based flour, and water used in combination with heat and/or pressure. Rye flour has a different gluten structure from wheat flour, and with the gliaden, rye contains glutelin rather than the glutenin in wheat flours.
