Filipova’s latest book is in the scope of the humanistic sciences, more precisely, the field of Christian art history. With this work, the author, an excellent art historian who has devoted her whole career to Christian and medieval art, continues to deepen her scholarly interest in early Christian relics found in the territory of Macedonia. As she states in the foreword, she has widened her interest to the medieval period and the New Age period, with a focus on church insignia and objects. This work also begins to decompose the burning “Macedonian knot” of the taken-away and dispersed church artworks and objects presently in the depots, museum galleries, or private collections of Europe, Asia, and especially the Balkans. It is exactly the highest value of the book that it popularizes the Macedonian artistic and cultural heritage. It announces to the world the need to return the sacral objects to their original place, to the churches and monasteries in Macedonia. It should be noted that there are only a few scholars and ecclesiastical personae who speak about this problem publicly.The book is written in Macedonian and translated into English. It is composed of six parts, along with a foreword and bibliography, and contains over sixty figures that visually document the discussed and presented works of art and church objects.The first part is titled “Short Review of the Organization and the History of the Early Church in Macedonia.” Here, Filipova follows the events from the time of the apostle Paul until the fall of the apostolic church of Justiniana Prima in 602.The second part, titled “Cultural and Episcopal Centers in Macedonia along Via Egnatia in the Time of Justinian I,” is devoted to the Episcopal centers and basilicas in the time of this emperor in Macedonia. The author reviews in detail the popular early Christian saints and cults. She also reveals the possibility that some of the basilicas and churches in Macedonia were part of larger monastic complexes. She further speaks about the continuity of building Christian temples atop older cult objects. In the next section, devoted to the time of the seven Slavic apostles (Sedmocislenici = seven saints equal to apostles) and the time of Emperor Samuel, she points to the clear distinction between the Macedonian language spoken around Thessalonica and the Old Bulgarian language that is a member of the Turkic languages. She further discusses the missionary work of the seven saints as being equal to that of the apostles and especially about St. Clement, including his work and cult. In the next section, titled “Monasticism and the Church Organization in Macedonia,” the author considers the problem of the first monastic centers in Macedonia, noting that it is uneducated to say that only in the ninth century did Christianity spread into the early Christian land of Macedonia, which has dated Episcopal churches from the fourth century; additionally, the number of the discovered churches and basilicas from the fifth and sixth centuries is more than 450 (pp. 26–27). Filipova further discusses the chronology of the Ohrid Archbishopric and the Samuel patriarchy and stresses that it is clear that Samuel’s church and empire could not have had a Bulgarian character because, according to the ecumenical canon laws, the simultaneous existence of the two highest ecclesiastical hierarchies within the same state was not allowed.In the third part, “Early Christian Saints” (saints, church clerks, martyrs, or missionaries), Filipova lists in detail saints mentioned in sources or inscriptions that originate or were active in the province of Macedonia in the first centuries of the first millennium.The fourth part refers to the saints and new martyrs from the medieval and New Age period who had a large impact on the development of Christianity in Macedonia. The author bases her opinion on a large scope of art history bibliographic sources enriched with the history of church literature. She speaks about the cults of the Sedmočislenici (seven Slavic apostles); Constantine Kabasila; Saint John Vladimir; the anchorets Prohor Pčinski, St. Gabriel of Lesnovo, and St. Joachim of Osogovo; Saint Achill of Larisa, who became Saint Achill of Prespa; Saint Angel and Saint Nektarij, both of Bitola; and the few female and male saints from the Turkish occupation period, ending with the twentieth-century saints Saint Gabriel of Lesnovo and Saint Joanikij Rakotinski.The fourth part starts with a section devoted to the early Christian relics and reliquaries that discusses the origin and the meaning of the relics and their usage. Filipova also mentions the holy places that must have been popular among the believers and pilgrims who paid their respects to the holy remnants of the saints. The second section explains the problem of the early Christian reliquaries discovered in Macedonia, and they are categorized into several types according to shape. Filipova provides a detailed description of the most important reliquaries and the contexts in which they were discovered. The next section is devoted to the various types of crypts and crypt reliquaries discovered within archaeological diggings, being cross-shaped, rectangular, rooms for relics, or barrel-vaulted. The next section is devoted to encolpia and unusual human mask relics.The final section is devoted to the diplomatic and ecclesiastical gifts to the Ohrid archbishops from high dignitaries, emperors, and lords.In the fifth part, devoted to the lost and stolen treasury of the Ohrid Archbishopric, the author objectively discusses and gives detailed descriptions of the precious objects that were stolen, especially in the scope of the Balkan Wars in the early twentieth century. Here, the rare, exclusive wooden door from Saint Nicholas of Hospitality (Bolnički) in Ohrid is iconographically presented, today on display at the National History Museum (NHM) in Sofia.The sixth part is devoted to small medieval personal icons, usually found in abandoned churches, the most exclusive of which was stolen and transferred to the NHM in Sofia (p. 70) during the Balkan Wars. The next section is devoted to church embroidery—rarely discussed material. The last section, titled “Insignia of the Ohrid Archbishopric— Symbols of Power,” is mainly devoted to two exclusive artistic pieces with high symbolic value, the miter of Archbishop Joanikij (late eighteenth century), kept in the NHM in Sophia, and the scepter of Archbishop Arsenij, the last Ohrid archbishop, kept at the Zograph monastery in Athos.The rest of the book is the English translation of the text, and it ends with a bibliography.In conclusion, I find Filipova’s book more than useful for the Macedonian audience and also for the international audience, the latter being rarely acquainted with the many facts and proofs about the truth and the Golgotha of the Macedonian ecclesiastical, artistic, and cultural heritage the author presents in her book. She also gives a detailed critical review of the ecclesiastical and historical conditions, along with studious analyses of the artistic qualities and semiotics of the works discussed, not being afraid to speak from the first-person perspective.This type of book is what we need in the scholarly realm, but I believe it will also be very popular with a general audience.