## 1 Introduction  
Evolon(r) CR (hereafter Evolon) is a non-woven microfilament textile invented by Freudenberg Performance Materials and consists of 70% polyester and 30% polyamide [1]. It has a smooth, soft surface and is isotropic, lint-free, and capable of absorbing up to 400% of its own weight in liquid [2]. The high sorbent capacity has led to the increasing use of Evolon for varnish removal from paintings. In most applications, the solvent-loaded sheets of Evolon are placed in contact with the surface of the artwork whereupon the solvent solubilizes the varnish, and the dissolved material is then resorbed into the Evolon sheet [1, 3, 4]. As this treatment often requires less mechanical action, it is seen as a preferable technique that minimizes potentially abrasive interactions with the paint layers. The utility of Evolon in varnish removal has led to interest in other applications in painting conservation. Two treatments commonly performed on canvas paintings in the past were wax-resin infusion and wax-resin lining [5]. For infusion, the canvas painting is infused with a mixture of wax and resin; for lining, a secondary canvas support is adhered to the original canvas using the wax-resin mixture. These treatments were sometimes performed preventively as an attempt to reduce the deleterious impacts of changes in relative humidity to the canvas and paint layers. In other instances, they were performed to set down and re-adhere lifting paint or to provide support to a weakened or torn original canvas. The exact recipes for the wax-resin mixtures varied depending upon practitioner but often included combinations of beeswax, mineral wax, colophony, dammar, and/or gum elemi [5; 6]. Unfortunately, the saturation of the canvas fibers by the wax-resin adhesive can alter the colors, ground layer, and internal contrast within a painted image [7; 8]. Additionally, the resinous materials discolor over time as they oxidize, altering the color of the canvas and ground layer of the painting. In addition to color changes to the ground, paintings subjected to wax-resin infusion or lining may also exhibit changes in solvent sensitivity, alterations in gloss, or become significantly stiffer, losing their drape and flexibility [7]. They are also not able to be effectively treated with many waterborne adhesives, limiting future options. As the wax-resin mixture ages, it becomes increasingly less soluble, establishing a temporal window within which the material may be safely removed. The high sorbent capacity of Evolon has led to experiments in its use to aid in wax-resin removal. [PERSON] and coworkers tested the efficacy of Evolon poultices on the removal of a mixture of microcrystalline wax and Piccolythe resin (a polyterpenic low-molecular-weight resin) [8]. They noted that none of their tested conditions resulted in the complete removal of the wax-resin mixture and that solvent choice was a critical factor to ensure the solubilization of both the wax and the resin component. [PERSON] and [PERSON] developed a wax-resin removal method to treat a still life painting by [PERSON], _Pletcher, Candlestick, and Black Fish_ (1943), that had been lined with wax-resin [9]. The final treatment method, which was developed after 48 preliminary trials, utilized solvent-loaded Evolon to help dissolve and mobilize the wax-resin, dry Evolon to help wick materials away from the painting, and heat and suction from a Willard vacuum table. The heat helped increase the solubility and mobility of the wax-resin mixture, and the vacuum suction encouraged the removal of solubilized material by ensuring a close contact between the back of the painting and the layers of Evolon below. The treatment consisted of three stages, which were performed twice. Briefly, in the first stage, the painting was placed face up over a pair of Evolon sheets, directly underneath the painting was a sheet loaded with xylenes, underneath which was placed a dry, wicking layer sheet; this stack was then heated under a low pressure for 15 min..