The use of textiles as a material for painting originates from ancient Egypt; it was adopted by the Byzantines and was fully developed during the Renaissance period.

The reasons for the wide range and popularity which this technique gained, were more or less financial and social.

Painting on textiles is especially sensitive to various environmental conditions. Therefore, its restoration and conservation is difficult and complex.

The problem of protection, stabilization of paint on the painting ground, consolidation of the textile with the use of new materials are issues long debated.

Each work of painting is unique and presents its own problems. Consequently, the restoration materials used and the methods employed for its rescue vary. The choice of restoration materials depends on the condition and relevant problems of the specific work, the materials it is made of and the space where it will be exhibited in the future. The homogeneity of materials and thermodynamic of masses must be meticulously observed during every phase of restoration. The instability of the painting ground, the weak colours and the variety of varnishes, which are typical features of this kind of painting, oblige us to be very careful and patient while cleaning the painting surface. The varnish transparency must be adjusted to the theme represented, the materials used and the space in which the work will be exhibited.