With this simple crown shape, Lissitzky creates an identity between the Angel of Death and monarchism, the Russian monarchy in particular. The political implications are made clear in the last painting of the series. On one side of the painting we see an old bearded man turning his head and hand to the sky, in an expression of amazement. On the opposite side, we see a kid waving its front legs in the air. Lissitzky is, in essence, proposing the final elimination of Death, the arrival of the Day of Judgment on which the taking of innocent lives as sacrificial victims will cease.
Additional elements suggest the arrival of that day.
The rainbow that had appeared in Scene 2 returns only now, in Scene 10, after the gruesome chain of events that began with the cat killing the kid. To the left of the rainbow, a shofar reinforces the messianic message that the Day of Judgment and Redemption has arrived. The hand which appears between the old man and the kid recalls the shape of the hand on one of the first series of stamps printed in Russia after the 1918 Revolution. It is the hand of the Soviet people, of the Revolution, uprooting slavery and oppression. Lissitzky is suggesting that the hand of the Communist Revolution is propelled by the arm of divine justice and redemption.