Upon Roerich's return to New York from the expedition, a solemn meeting was arranged for him, and in the speeches of the speakers said on this occasion, and in newspaper articles written on the same occasion, it was noted that Roerich was, as it were, a symbol of all nations, a prophet of the idea of international peace, an idea carried out by his entire life and all his work.

"I don't know a single person," said the mayor of the mountains. New York, which would accomplish so much in this direction, which, through endless obstacles, in striving for this goal, would bring such lofty notions of brotherhood, such a subtle understanding between nations on earth."

In the speeches made by numerous representatives of science and art from different countries, Roerich's outstanding role as a bearer of the idea of peace, knowledge and beauty was noted.

"There are no foreigners or allied nations now – humanity is one whole," said one of the many honored guests at the opening of the new building of the Roerich Museum.

"Nicholas Roerich is one of the teachers of modern thought, with his painting, his philosophical and scientific works, an example of such complete and fruitful activity, he creates a movement of mutual agreement between nations, based on international cooperation, which every day is more and more transformed into the service of beauty and knowledge," this is how the French bulletin dedicated to his anniversary characterizes Roerich's activities.

Even with a superficial attitude to these flattering speeches and writings, it is striking that what is taking place here is not the usual exaggeration of the merits and significance of the honored in various celebrations, but deliberate crackling advertising, "making a name," creating a "celebrity." After all, hand on heart, it is unlikely that at least one honest and objective observer, even from the Masonic-liberal camp, will be able to recognize Roerich's mass of services to mankind that is attributed to him. After all, it is absurd to assert that a world shaken by a revolution that has no precedent in size and significance, a world that re-evaluates values on a gigantic scale, a world exhausted and drained of blood, could admit that Roerich rendered at least some service with his writings, chaotic in form and content, with his paintings that speak nothing to the mind or the heart, or, finally, with his exceptionally worthless frivolity and insincerity by the "Roerich Pact". Not only the most objective, but also the most benevolent attitude to Roerich's works does not give grounds to regard him as the Masonic clique does. But even she, imagining herself omnipotent, was not up to the task. Who remembers Roerich the day after the newspaper noise about him? Who reveres Roerich as "one of the teachers of modern thought"? No one, including the Freemasons themselves. And only in the aspect of a special task entrusted to Roerich, the aspect that explains the unprecedented fact that Roerich turned from an average Russian artist into a world magnitude, having won on the loss of his homeland and the weakening of Russian influence, only in this aspect all the hype around his name, Masonic verbosity and hysterical shouts become clear. You can't make black white, and so flatteringly characterized by the New York mayor and the "impartial" press, Roerich will find, and already does, a proper assessment where the brain is not stupefied by the child of Masonic vulgarity and the eyes are not covered with a veil woven by Masonic lies.

But as long as Roerich is a thinker, Roerich is a writer, Roerich is an artist, the famous and world-famous Roerich works, and his owners reap the fruits of this work.

Hiding behind the banner of protection from the destruction of works of art in the years of military disasters, Roerich preached a pact of universal peace in the Masonic spirit.

His painting "The Great Mother of the Banner of Peace", as well as the "Banner of Peace", which, according to Roerich, should protect works of art from destruction, are not only painted in the Masonic style and spirit, but are also decorated with Masonic symbols - three dots in a circle.

Rejecting Roerich's interpretation as obviously heretical, that this sign is a symbol of the Holy Trinity, it is not difficult to see in his other two interpretations that the three dots in the circle are a symbol of all the countries of the world, which should merge in unity and unanimity. These interpretations are as follows:

First: "The proposed flag is a symbol of the whole world, not only of one country, but of the entire civilized world. On the proposed banner are depicted on a white background in a circle three connected amorant Spheres, as Symbols of Eternity and Unity." (The New York Times, March 1930)

Second: "The flag is an emblem of peace, not only of one country, but of civilization as a whole. The flag of this project has three balls in the middle of the circle on a white background, as a symbol of eternity and unanimity." (Special brochure of the Russian Committee of the Roerich Pact, Harbin, 1934)

These interpretations are nothing but repetitions of the hackneyed Masonic idea of "eternal peace" and "fraternal union of all peoples."

In preaching his idea of peace, Roerich directs the edge of his reasoning against anti-Masonic exposures, calling the work to expose Freemasonry destructive work, "spiritual murder, more dangerous and criminal than physical murder".