two hundred houses and one small church that had fallen into decay. The inhabitants at the time decided to have a new church built at the site known as Mogila. The parish priest, Friar Peco, was assigned to obtain a building permit from the Turkish authorities in Radoviš. The Turkish governor Vali gave a building permit but made sure to set conditions for construction of the church as difficult as possible. The church was to be built low, below the road level and not to be seen, construction was to end in forty days, and Fr Peco was to give his youngest daughter, Sultana, to the harem. The people of the town prevailed and the church building was finished and covered with stone blocks, soot, and lime (so as not to be noticed) in 40 days. Seeing that the church had been completed, Vali immediately ordered the deaths of three church elders in front of the church, and since Sultana had fled to Kyustendil, Friar Peco was imprisoned for three years. When Sultana found out that Vali had been murdered by komitas, she promptly returned to Berovo. Convent The first convent, located at the exit from Berovo leading to the dam and the lake, was built in 1940 in a 19th-century architectural opus, twenty years after the construction of the Monastery of the Holy Archangel Michael, and the first nuns were the daughter-in-law and the daughter of Friar Risto, a son-in-law of Friar Peco. They had their monastic tonsure (removal of the hair of the head) with a blessing from the Rila Monastery's abbott. Eugenia I was the first abbess of the convent, the second – Eugenia II, the third – Eugenia III, and the fourth abbess was Eulampia in 1958 by the first Archbishop of Ohrid, Dositheus. At its peak, in the first half of the twentieth century, the convent numbered up to sixty nuns, with a rich and developed economy, a theological seminary, a weaving mill, and the first single-phase hydro-power plant in this area was in the convent. The three gates of the church face the town, the river and the pine forest. A large porch dominates the convent yard and in the dimness of its interior oil lamps lighten images of saints, painted in a characteristic style that is antonymic to Byzantine canons. Only one icon, that of Noah, painted by George Veljanov from Strumica in