Until recently, serendipity and experiment have been the most frequent design principles of formulations for either cleaning or consolidation of works of art. Accordingly, the past has witnessed a number of actively detrimental treatments, such as the
application of acrylic and vinyl resins to wall paintings, which can irreversibly jeopardize the appearance (or even the continued existence) of irreplaceable works of art. Current research activity in conservation science is largely based on the paradigm that compatibility of materials is the most important prerequisite for obtaining excellent and durable results.