Although antiquity emerged as an important factor in nation building and since independence in 1991, as I described above, the wave of antiquitization (antikvizacija) sweeping over Skopje’s central public space and the entire country since 2006 is unprecedented indeed. The epic monument of the Warrior on the Horse (or, evidently, Alexander the Great) occupies the most central place in the capital of the country. The same day (14 June 2011) that this monument was brought to the main square, two monuments of Philip II of Macedon were also erected: a 5-meter tall monument placed on a 3.5-meter base, designed by the same artist who created the Warrior on the Horse, was installed in the Skopje Avtokomanda Municipality, and another monument was erected in June 2012 on the other side of the Stone Bridge, in front of the church St. Dimitrija, an impressive 17 meters tall.

There was an onward rush as the gates opened.

He spread his face out in such a manner that there was nothing left but mouth; as a young cuckoo in a sparrow's nest, when his stepmother cannot satisfy him, squattles his empty body down, and distends himself into one enormous gape.

But she could not wipe out the king's majesty with that sponge nor alter one lineament of the portrait she had taken ten years to limn.