From 1926, Caodaism (Đạo Cao Đài) has flourished as the centre of new religious development in Vietnam. Its vast and complex syncretic theology continues to serve as a meeting ground between an East Asian tradition revivified (animism, Confucianism, Daoism, Buddhism, and ancestor worship) and a colonialist modernity localised (Catholicism, French Masonry, Theosophy, and Spiritualism). One of the significant paradigms through which this sacred re-narration of Vietnamese religious history can be conceptualised is through the great mural of the religion. Created to adorn the vestibule of every temple to God, the mural contains three historical figures that represent in essence the wider Caodaist religious and cultural project. In this chapter I examine in detail the symbolic relevance of these figures, Vietnamese poet and seer Nguyễn Bỉnh Khiêm [1491-1585], leader of the Chinese nationalist revolution Dr Sun Yat Sen [1866-1925], and French author Victor Hugo [1802-1885]. Separately they signify certain aspects of the modernist hope of those Vietnamese who came to worship them as saints of the new faith. Together in one mural, this chapter will reveal how these figures additionally symbolise a very specific global, modernist, and millenarian hope.