The Archangel Monastery is one of the most well-preserved historical monuments of Almopia. Its foundation dates back to the late 18th - early 19th century. Archangelos village, which is located a few minutes away from the monastery (the old name was Ossiani) got its name from this monastery. It is dedicated to the Archangel Michael and is currently home for five monks, while it is said that the first years it was dedicated to St. Ioannis the Baptist. It is also said that the monastery is built on an ancient temple dedicated to the goddess Artemis. The archaeologist M. Papageorgiou estimates that it was probably, a Roman years sanctuary of Artemis Agrotera, although there are no surface older finds. The monastery is located on the hill of the valley of northern Almopia, surrounded by a rich natural environment with cedar, chestnut and walnut trees, cherry trees, ponds and mini-waterfalls. The bridge that crosses the stream next to the monastery is really famous
The monastery, it is said that it was operated as a refuge and base for chieftains, during the Macedonian struggle, including Captain Matapas and Captain Michael Dragas. The monastery houses the relics of eminent martyrs and saints of the church, and the famous icon of Archangel Michael. The monastery of Archangel Michael is three aisled basilica with a raised skylight, narthex, loft and three-sided portico. The church is divided into three aisles by two colonnades, with colored columns connected by arched wooden structure of bagdati (technical construction of wooden walls of old houses.). The roof of the church is the arched in the central nave and the side aisles are flat and wooden (the roof was replaced in 1996 because of disasters). Outside the church there are decorative reliefs: on the northwest corner of ambulatory is distinguished one ram-head, on the northeast side there are traces of damaged terrain, on the west side there is embossed cross and on the east side there is a bird (probably eagle).
Inside the church is full of paintings dating as a whole in 1888, based on inscriptions, while impressive is the wooden temple dating back to 1860. The temple has a rich painted decoration and images that unfold in four successive zones. The first set of images comprise twelve Despotic icons: St. Neomartyr the Chrysi Moglenitissa, Saint Kosmas of Aetolia, Archangel Michael, St. Hilarion, the miracle of Archangel Michael, the Virgin Mary, Christ, St. Demetrios, Archangel Michael designed by painters of Mount Athos, St George the Younger the Cappadocian and Saint George the Neomartyras of Ioannina. The next two and middle rows of the iconostasis, host 46 images of smaller size and the last zone has nine.
The frescoes of the church are equally impressive although physical damage due to the humidity is evident. The icons of the catholic, are considered works of hagiographers Krousoviton Evangelos, Nicholas and Anastasius. The frescoes of south wall, are of a particular interest, because of their uniqueness (not found in other churches). The two most impressive of them are inspired by the Old Testament: the first concerns the destruction of Jerusalem and the massacre of the Jews. In the picture depicted Abed Meleha sleeping under a tree, while above him there is a basket full of figs (show faithful to the stage of the Old Testament). It is worth noting that the same scene, there is in the Church of Saint Paraskevi in Periclean. In the second image is represented the martyrdom of the Prophet Isaiah, under the reign of King Zedekiah. The Prophet is shown inverted with head down, to be sawed by two executioners. As noted, the image seen in many temples of the middle of last century. On the other, the north wall of the catholic church, shows scenes from the life of Christ, his passions and many saints, especially in third lower zone, from the four split up the north wall. Another two grim depictions found on the west wall of the catholic church: the first is depicted the '' sinful man ', who is tormented by devils in a goat-form, while to the left is a picture of St. Ignatius, between two lions ready to devour him. On the left, next to the entrance of the church, stands the martyrdom of St. Chrysi, a fresco of particular importance as it connects the popular ecclesiastical iconography with the corresponding urban iconography, in the late 19th century. Finally, inside the church impresses the huge table with the Assumption and the Akathist Hymn.
A notable element that we must mention, is the role of the number 12, which is repeated constantly in many parts of the church: 12 images in the first row of icons on the iconostasis, 12 columns in the two colonnades that divide the church into three Clytie, 12 columns in the ambulatory, 12 windows, 12 half-columns on the outside of the altar, 12 Saints on the north wall, 12 Saints on the south wall, 12 and 12 performances of twenty-four houses of the Akathistos Hymn. The number 12 is assumed, that symbolizes the importance of the work and contribution of the twelve Apostles.
 Martakis, A. M., Monastery of Archangel Michael in Almopia oPella prefecture, Monastery of Archangel Michael in Almopia, 2006, p. 13.
 M. Papageorgiou, Macedonian 9, 1969, p. 48-62 and 58.
 Chrysostomou, A., Historical Topography in Almopia Society for Macedonian Studies, 1997, p. 478.
 Ibid. p. 12.
 Ibid. p. 7.
 Ibid. p. 19.
 Ibid. p. 16-17 and Moutsopoulos N., The churches of the prefecture of Pella, Thessaloniki, Society for Macedonian Studies / Peninsula Institute for Balkan Studies, 1973, p. 25.
 Martakis. p. 30.
 Ibid. p. 62.
 Ibid. σ. 62.
 Moutsopoulos N., The churches of the prefecture of Pella, Thessaloniki, Society for Macedonian Studies / Peninsula Institute for Balkan Studies, 1973, p. 26.
 Martakis, p. 29.