The bishop was unaware of the workers' arguments, and when he had taken his seat, he instructed the painters to pull back the curtain in front of the paintings and show them to the guests who had come today.

He knew about the painters painting behind the curtain, but he thought it was a competition among the painters, and he didn't want his paintings and painting skills to be seen by his opponents, which was understandable - many of the techniques were kept secret in this day and age - and even in later generations, the secret of forceps that could save the lives of countless mothers was hidden for many years by a family of doctors.

The bishop did not want to interfere with such secrecy, but on the contrary he appreciated their secrecy.

The jealousy of seeing his peers' work more subtle than his own has ruined many people, and legend has it that even the painter Wu Daozi once hired killers to kill competitors who were more talented than himself, and the bishop did not want to see this happen in his own church.

So instead of stopping their secrecy, he was happy to see it happen.

The first curtain to be opened is the curtain on the left, which depicts Santsina Caring for the Sick.

They had expected to see a shriveled and cold, yellow-faced old woman dressed in black, wearing a dim halo on her head, drawing a cross in one hand and pointing at the sick like a ruling in the other, surrounded by a skull-shaped grim reaper, asking him to repent of his sins immediately, just as in previous paintings.

But now they saw a gentle and loving young woman, dressed in a simple but beautiful white garment, with a round and beautiful face that seemed to have white light shining out, a pair of bright eyes humbly lowered, her body leaning forward slightly, and she was putting a wet cloth on the forehead of the child in front of her, caring for mankind not like a cold saint on top, but like a mother on earth.

The child was ragged and had dry limbs, and from his small black hands and bare feet it was obvious that he was a child of the working class. But his countenance was calm and serene, and his pale lips were slightly curled, as if he was having a good dream under the light of Santsina.

The child slept on a neat white sheet with the words "First Hospital of Tournest" embroidered on the corners. At his feet was a slightly older girl, who was lying at the child's feet, as if she had fallen asleep from the night's care, her beautiful brown curls scattered over the snow-white sheets. Judging by the gesture, she should be the patient's sister.

Next to Santsina was an adult man, who appeared to be the father of the child, who was looking at Santina gratefully, holding his hat to his chest in one hand and a cross in the other, his lips moving slightly, as if in a prayer of thanksgiving.

Next to the bed was a small cabinet with a simple clay candlestick on it, on which were piles of tears and a little wick had been charred and blackened, and it seemed as if it had been burning all night, indicating that Santsina had been watching over the sick all night. On top of the small cabinet was an equally modest earthenware jug, a strip of cloth that had just been replaced from the patient's head and dipped in water.

Between Santina and the man is a window, and on the windowsill is a potted plant, which is a pale blue gentian flower that symbolizes Santsina, and at the top of the flower bush is a small flower swaying in the wind, slowly opening, as if symbolizing the patient's new life.

Outside the window is the white sky of the fish's belly, the evil spirit of the night has receded, the dangerous moment has passed, and the bright morning is approaching. The bright morning light illuminated not only Santa Sina, but also a qiē in this ward, as if the divine power of heaven was blessing Santa Sina and the family of patients she cared for.

Before the audience could marvel at the painting, the curtain on the right was opened.

The depiction on the right is St. Alban's Path.

In the center of the picture stands St. Alban, who is swinging an axe and cutting down the thorns in front of him. The founder of this Albanian abbey is portrayed as a living man, full of the joy of labor and the joy of building a career.

As he cut down the thorns, he beckoned others to throw them into the fire.

Behind him, followed by the old and weak women and children, some of them holding the plowshare, some splashing seeds, it is a picture of spring ploughing.

In the distance, artisans of all stripes are building the Abbey of Alban. The carpenter, blacksmith, and stonemason each did their work, and each one was lively and joyful. And a woman in the form of a benefactor carried a basket and gave them bread and wine.

The monastery is located on a rainbow-lit green hill, and from the monastery all the way down is the vineyard, the wicker garden (wicker is a must-have for hoop barrels, so the wicker garden is often accompanied by the vineyard), and the garden where the vegetable fields are cultivated and the herbs are planted. All of these fields are neatly manicured and delicate like nurseries.

Many ravens and wild dogs, symbols of savage and demons, escaped from the thorns that St. Alban was cutting down, and crows hurried out of the thorns that were thrown into the fire, and in the fire there were struggling rats.

In front of St. Alban, there was a wild wilderness full of thorns, wild boars, bears, wild dogs, and crows, which symbolized evil spirits, and men in pagan clothes fell to the ground to be eaten by crows and wild dogs, and were bitten by bears, and their women and children looked up to heaven in despair, all depicted in splendid clothes and jewels of gold and precious stones, but hungry and full of fear.

And behind the saint Orr, all of them were red-faced, sturdy, and well-fed though they were dressed simply, and they were joyfully doing their work, and their work gave rise to the monastery, the cause of devotion to God.

The whole painting is surrounded by gold characters in the flower body, and the words in gold are "Do your daily work".

The audience who had been invited by the Bishop to judge today's paintings was buzzing, and they all knew that the judge today was who was more qualified to paint the church dome – and probably who was more qualified to paint the new frescoes of the entire Tournest Cathedral!

Many people were moved by "Santa Sina Cares for the Sick" and thought that such a figure painting was rare, and many felt that "St. Alban's Opening of the Mountain" was a magnificent scene, and this painter was more suitable for painting the church dome.

Those who were not qualified to judge the quality of the paintings also gave their opinions, and the elder Jacob, for example, was moved to ask the author of Santa Sina to paint a picture of his deceased wife—I don't know how much it would cost.

After they had some discussion, a common question was raised.

Both paintings have been presented to the audience, but there is still a curtain that has not yet been lifted!

This curtain is located between two murals, looking at the size is not small, behind it, what is hidden?

Even the bishop was intrigued—it seemed that the purpose of the two painters was not merely to find a job for the loser, as they claimed—and the bishop did not doubt that this was one of their purposes, and that it was dangerous for them to lie to a bishop, and to conceal a part of the truth.

Their purpose must have been to see what was behind the third curtain, and of course the wealthy benefactors would have been happy to see one or both of them hire them afterwards.

This is "we don't lie, we only tell part of the truth".

The voices of curious inquiries grew louder and louder, and at last the crowd shouted, "Lift that curtain, let's see what's behind us!" Otherwise, we won't be judges! ”

The bishop smiled and ordered the painter to lift the third curtain.

The two painters bowed to the crowd together, saying that they did not mean to conceal it, but that they wanted everyone to look at the two paintings first, and to know that they had finished the work requested by the bishop, and did not delay, and after speaking, they pulled the rope together.

The third curtain fell, revealing a third mural behind it.