Hydrolytic enzymes and polysaccharide-based rigid gels represent two very helpful cleaning tools for a variety of polychrome artworks: moveable paintings, wooden polychrome sculptures, paper and library materials, and in some instances mineral or inorganic supports. In addition, they can be used for other tasks that are not, strictly speaking, the cleaning of a painted surface, but rather more structural interventions, such as the removal of aged film formers, such as adhesives and consolidants. Rigid gels have several advantages over conventional fluid gels, such as delivering water or aqueous solutions in a controlled way, being able to draw into their mesh any particles dissolved upon their application, and generally not requiring posttreatment rinsing. Hydrolytic enzymes, by acting selectively on specific substrates under mild conditions, can often represent a valid alternative to conventional acids and alkalis that is safer to the artwork and less hazardous to the conservator’s health. Many successful applications have been conducted; however, a systematic study still remains to be done, with the aim to better understand the influence of various parameters that affect the enzyme activity and how they can be tailored to the specific needs of the artwork. The information we currently rely on is too often related to the biochemical and biological fields, rather than to the materials of the artworks.