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".

"We strive for the Banner of Peace," Nicholas Roerich declared, "which protects all cultural treasures from vandalism and rudeness both in time of war and in time of peace. After all, we know that in times of so-called peace, vandalism is very often no less rampant than in times of war. We also know that sometimes a war in the spirit is more dangerous than a war in the field. Spiritual murder is even more dangerous and criminal than physical murder." (Newspaper "Zarya", Harbin.)

But Nicholas Roerich is stubbornly silent about communism as the extinguisher of light and spirit, constantly waging a "war in the spirit", and therefore it is not difficult to guess in whose direction these arguments are directed and that under the name of "spiritual murderers" Roerich means the opponents of Freemasonry whom he hates, and it is them that this venerable man stigmatizes with the name of "dark forces".

And one more thing attracts attention. In his literary works, Roerich not only does not condemn communism, but, on the contrary, shows sympathy for it, which, however, is not surprising, since, as mentioned above, the theosophical doctrine in general is inclined to worship "the purest and noblest communism".

III. Fighting for "eternal peace" and international solidarity, Roerich at the same time was a supporter of a radical social revolution, because property, according to him, was theft, and Lenin was a great teacher of a new life.

Here is what we find in the book "Community", published in 1927 with the close participation of Roerich.

"One must prefer the Teacher who follows new paths. With this, the people of the North Country have an excellent example – their Teacher Lenin knew the value of new paths. Every word of his sermon, every act of his bore the stamp of unforgettable novelty" (p. 1).

"Take the appearance of Lenin as a sign of the sensitivity of the Cosmos" (p. 39).