Art throughout history declares culture and beliefs. Opposing cultures and beliefs often become with political agendas. This is most graphically seen in history during the Reformation (Martin Luther’s rebellion against the Roman Catholic dictatorship and Inquisition) and the Counter-Reformation (The Catholic Church’s propaganda retort attempting to abate the freedoms of Protestantism throughout Europe).
The elites, those who rule, today are no different than the elites of yester-year. They 
declare, announce, in their arrogance, their culture and their intentions of oligarchical dictatorship. No where better is this seen than the “hallowed halls” of the United Nations.
The following is edited excerpts from WE ARE REVOLTING (right) Pages 132-134…
‘…a third Mural series, by Norwegian artist, Per Krohg hanging on the east wall of the United Nations Security Council (UNSC) chamber.
“The essence of the idea is to give an impression of light, security and joy. The world we see in the foreground is collapsing, while the new world based on clarity and harmony can be built up, thus must the work of the UN and the Security Council provide the seeds for a new and more valuable life.” Krohg, artist, 1950
“The promise of future peace and individual freedom.” According to UNSC.
The mural clearly infers that to reach peace and individual freedom the UN needs to be governing. UN Treaties and Conventions urge the mandate along; however, Treaty text talks about absolutely no individual freedom unlike their statement, just the sanctity of the earth, the need to depopulate with the collective having sway over the individual.
The mural shows a phoenix, an ancient symbol for Lucifer and for order out of chaos. It rises from a dark landscape, rather than ashes, into a light-filled world of progress, leaving a snakeskin like casting behind.
Below the Phoenix stands a dragon slaying itself with a sword, symbolising death to all religions and templars. A UN soldier has one foot still on the dragon, while tipping his hat to the elite as they climb out of their underground cities painted at the lower left of the mural.
Shadowy zombie figures that died in a holocaust walk soullessly into a void, in accordance to the Georgia Guidestones’ depopulation directive (refer We Are Revolting P.229)…
…A One World Gnostic Religion is celebrated with masonic pyramid symbols and people waving a long scarf, symbolising a snake. Only the UN flag flies, signifying they will be the only governing global power.
In the middle of the mural is painted a new world Caucasian nuclear family. Lucifer, (Luciferians believe is God), gives a child, illumination in form of an apple from the tree of good and evil, reiterating supremacy over God of the Bible.
The retro 1940s feel to the mural accentuates the darker message that the Fourth Reich will complete what the Third Reich failed to do. There is dancing but no laughter, there is marriage and children but no familiarity.
Two symbols of dynamism stand out in this ordered subdued pallet; an energy charged pale horse of the apocalypse as the blue horse at DIA (Nicknamed Lucifer, refer We Are Revolting P.127-132), and a rising sun bursting into the citizen life with purpose and insistence from the East as the new One World Religion serenaded by a man (the devil) is playing a Pan flute.
“…[the UN mural] could easily function as Nazi propaganda on behalf of National Socialist eugenic ideology.” Gregory Maertz, art historian, specialist in the Third Reich at St. John’s University, an interview.
Typical of globalist art work, the ancient bloodlines with divine right to rule, are Caucasian, underlined by Caucasians being in authority – those who are helping the chained Blacks out of the caves and those who have access to state of the arts technology and medicine. The mural shows the elite will still be enchanted by the enormity of the universe and intricate genetics. The New World Order will be a scientific eugenic order, symbolised by the microscope.
The mural displays plenty of biblical iconography, as does the Denver and Charlotte murals. It would be a mistake however, to assume them assigned to Christianity… a church with no cross on its steeple symbolising the death of Christianity.
The UN full of collective thinkers, cite Christianity as oppressive…When interpreting areas of the mural that look biblical in context, it is better to reverse the narrative, or read them through the works of Aleister Crowley, Manly Hall, Helena Blavatsky and Alice Bailey.
No more supportive to this lens, is…a lady…lightly clad…dancing with a scaly lizard creature.’
This mural is an announcement. If we the People remain silent, we consent to our own demise.
The elite, who own the wealth of the world as this UN mural boasts (left weighing gold), call the 99% of the world’s population the “useless eaters”, “great unwashed”, “cattle” to be herded into smart cities; they call us revolting. It is time to wake-up and be revolting against tyranny by saying we do not consent.
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