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.