The lining of paintings on canvas in Naples

The paper outlines the contribution of the Neapolitan tradition of structural conservation of paintings on canvas. It is possible to trace the existence in the eighteenth century of diversified practices, which included the use of temporary stretchers for lining. It has also been defined the identification of ‘mesticatori-foderatori’ (fillers-liners), professionals specialized in the preparation of new canvases for painting and in the lining of old ones. A profound knowledge of the materials of painting during the nineteenth century in the Museo Borbonico advised extremely caution in interventions on glue-tempera paintings by Parmigianino and Bertoja, which were not lined, but equipped with additional canvases. The practice of transfer was practiced since eighteenth century in Naples, but consciously avoided in the nineteenth century in the Museo, only to be put into practice at the beginning of the twentieth century with questionable results. In the second half of the twentieth century an improvement to traditional lining techniques was found by Antonio De Mata, who developed an effective procedure for the preventive consolidation and lining of paintings on canvas that reduced the risks of humidity. With due caution, in many cases this method continues to be effective.