2010 m. LDM Prano Gudyno restauravimo centre buvo restauruotas vertingas medinis, iš ąžuolo medienos išdrožtas XVIII a. pab. sukurtas Kudirkos Naumiesčio šv. Kryžiaus Atradimo bažnyčios barokinio stiliaus relikvijorius. [...] Publikacijoje išsamiai aprašoma restauruoti atvežto kūrinio ir atskirų jo dalių būklė. Pažymima, kad relikvijoriaus konservavimo ir restauravimo metodika buvo parengta remiantis kūrinio cheminių, fizikinių ir biologinių tyrimų duomenimis. Tiksli ir išsami kūrinio technologijos ir būklės analizė turėjo ypatingos reikšmės, nes relikvijorių sudaro daug skirtingų medžiagų. Buvo atlikta medienos, autorinio dekoro medžiagų, audeklo, popieriaus, stiklo, metalo cheminės sudėties ir struktūros analizė, nustatyti pažeidimai, vėlyvesnių atnaujinimų metu padaryti pakeitimai ir naudotos medžiagos. Restauruojant kūrinį, nuo drožybos buvo pašalinti uždažymų sluoksniai. Trūkstami fragmentai išdrožti iš liepos medienos. Atvira naujai išdrožtų dalių mediena gruntuota restauraciniu gruntu, retušuota meniniais akvareliniais dažais. Apsitrynusios auksuotos vietos retušuotos trintu auksu. Relikvijoriaus polichromija padengta apsaugine damaros lako danga. I autentiškas vietas kartušuose ant sutvirtinto šilkinio audinio sudėtos ir įtvirtintos relikvijos, jų puošybos elementai ir juostelės su užrašais. Kartušai įstiklinti ir užsandarinti. Iš liepos medienos lentos pagamintas postamentas eksponavimui. The publication describes in detail the wooden carved baroquc-style reliquary of Kudirkos Naumiestis Church of the Invention of the Holy Cross created at the end of the XVIII century, which was restored at Pranas Gudynas' restoration centre of the Lithuanian Art Museum. The reliquary is believed to have been whittled by a local talented artist who decorated Kudirkos Naumiestis Church of the Invention of the Holy Cross built in 1783, whittled wooden tables and a decorative baptismal font for the church. The baroque reliquary was carved from oak. Openwork carving was ornate with vegetable and geometric motifs, with a crown and a cross at the top. A relic of St. Francis de Sales is stored in a circular cartouche under glass. Relics of Saints Apollonius and Damian as well as Thousand Martyrs are placed at the bottom of an oval cartouche. The authors of the publication give a detailed description of the state of the work when it was brought for restoration, studies carried out and the course of restoration work. It is noted that the reliquary preservation and restoration technique was prepared on the basis of data from chemical, physical and biological tests. An accurate and exhaustive analysis of the technology and state of the work was particularly important, as the object was composed of many different materials. An analysis of wood, the author's decoration materials, cloth, paper, glass and the chemical composition and structure of metal was carried out and damage, changes made and materials used during previous restoration works were identified. Layers of overcoating were removed from the carving during the restoration of the work. Missing fragments were carved from linden wood. Exposed wood in the newly carved parts was primed with a restoration primer and retouched with artistic watercolour paints. Faded gold-plated places were retouched with powder gold. The polychromy of the reliquary was covered with a protective damar varnish coating. Relics, their decoration elements and ribbons with inscriptions were placed and embedded in their authentic places in cartouches on reinforced silk fabric. The cartouches were glassed over and sealed.