The technique of compo lining has been used for hundreds of years. It consists of 2 parts rye flour to 1 part concentrated Scotch glue. Parachlorometacresol (PCMC) is added as a fungicide. An 8th part of Venice turpentine is added to keep the compo pliable. Sulphite tissue is used as a facing adhered with a PVA solution. Linen is used for the lining canvas, on which several coats of compo are applied. The painting is laid on the adhesive and ironed from the front, using padding to protect the craquelture. Further ironing takes place when the back of the lining canvas is moistened to allow the craquelure to be ironed out from the front. Prior to lining -- only if there is loose paint -- a wax-resin adhesive is ironed into the back of the painting for consolidation. The surplus adhesive is removed. The writer warns against the use of wax and against use of the vacuum hot table for lining.