The state of preservation of the four masks was discrete and in addition to the small cracks and localized weakening of some anchors already reported, there was a widespread problem of pigment de-cohesion. This characteristic is because the masks were not intended to last; at the end of the ritual, they were destroyed by fire or deposited in the waters of lakes or the sea.

Among the most visible elements on the four masks are several pins, iron wires, and nails, some of which can be traced back to earlier interventions or applied out of necessity to suspend the masks; other elements, however, such as some flat nail heads, are covered with the same pigment used for the pictorial layer.

Widespread traces of adhesive were present on mask inventory number 101591, and the movable anchorage of the small seal's tail and head, previously secured with a wooden pin, was later stiffened by applying glue inside the pin insertion hole. This feature restored the mobility of the two elements. RX images also revealed the presence of nails, related to a "repair" operation, to further secure the head and tail. Traces of animal glue were removed with lukewarm deionized water. While the removal was complete on the back, which was not painted, only a lightening of the stains was performed on the front, so avoid altering the pictorial layer, which is sensitive to the aqueous medium.

The intervention on the front part of the mask was completed, where necessary, with an integration made with pastels, specially made by the decorator of the Laboratorio Restauro Pitture, Marco Innocenzi. The materials used to make the pastels are natural pigments and kaolin, with no added binder, to ensure the total reversibility of the integration. On the other masks, partial mechanical cleaning was performed only on the unpainted areas, with the help of soft bristle brushes, micro-nozzle minute adjustable power vacuum, and finishing with vulcanized natural rubber sponge (Smoke sponge). After a series of tests with different consolidants and application modes, the restorers decided to treat the pigment decomposition using the Jun Funori at 0.5 percent in deionized water and ethyl alcohol (5 percent). This mode of application made it possible to treat the pictorial layer with a natural consolidant dissolved in water; the distance between the surface of the work and the "gun" used for application was 50 cm to ensure an even distribution of the solution. The restorers treated the four masks on the entire painted surface, except mask inv 101594, whose pigment was de-cohesive only on the upper part. The restorers protected the lower part of the mask during the application and temporarily removed the ears.

During the first quarter of work, the following operations were carried out on the six masks:

• Bibliographical research: extensive bibliographical source searches were conducted to study, in collaboration with the Department for Ethnological Collections, all aspects related to the geocultural scope of the masks, their making, and their preservation. Contacts with scholars engaged in research on Yup'ik masks and especially the meeting last year with Master Chuna McIntyre, an artist, dancer, and storyteller originally from the village of Eek, on the coast of the Bering Sea, allowed us to better understand the universe and traditions conveyed by the masks. This information was fundamental in defining the guidelines and methodological choices of the intervention. In addition, the presence in the Vatican collection of several masks of the same origin offers the possibility of conducting a comparative study.
   
• Anoxic disinfestation: the masks underwent a preventive process of anoxic disinfestation with the creation of a protective structure around the work for fluxing in a film-barrier envelope.
   
• Photographic documentation by the Photographic Laboratory, of the front, back, and sides of the masks and documentation of details of the execution techniques and state of preservation.
   
• Preliminary scientific investigations by the Laboratory of Diagnostics for the Conservation and Restoration of Cultural Heritage: imaging investigations and micro-samples for chemical analysis were carried out, which will make it possible to identify the type of wood, pigments, and binders used and the origin of the residual materials present in the holes along the perimeter of the masks. These holes allowed the insertion of additional elements, of various types that characterized the mask.