This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
In my eyes, chapter 73 represents much more than just a hot smut scene. The readers can witness the protagonists’ mental liberation. How? It is reflected in the following panel. 
First, observe that the lord is lying on his bed, although we all know that he had developed a phobia of his bed. In the past, when he was having sex with the artist. He would either sit 
(chapter 32) or be on his knees 
(chapter 42) or lie above the painter
(chapter 45) 
(chapter 58). Besides, the moment Baek Na-Kyum voiced the desire to have real sex with his lover, the latter preferred standing up, while he justified that he was longing for an embrace. 
But like I had demonstrated in a previous essay, it was more a false excuse, because lord Na-Kyum had been able to hug him on the bed.
But there’s a more evident proof for this observation. When Yoon Seungho was below, I noticed that his head and shoulders would never touch the mattress. He would use his arms or elbows to hold his head high. 
(chapter 14)
(chapter 45) 
(chapter 73). However, it changes the moment the painter encourages him to help him. Note that for the first time, his shoulders are touching the bed
and from this perspective it even looks like his head is resting on the bed. This becomes more obvious, when you compare this scene with the episode 14. Note that right after the penetration, Yoon Seungho changed his position immediately. 
However, with the commoner, Yoon Seungho still remains lying on the bed, he just raises his head in order to look at his lover. This truly exposes that the lord’s discomfort and fear is slowly vanishing. His affection for Baek Na-Kyum is so strong that he forgets his surroundings and as such his phobia. The pinnacle is reached, when the lord puts his head on the mattress after his climax. 
Since he doesn’t even straighten up immediately, it exposes that the lord is finally relaxing. His deeply rooted fear has totally vanished. This was already perceptible, when I analyzed the appearance of the bed. But in my opinion, there’s another progression in chapter 73. Note, that the painter is not lying next to him, contrary to chapter 38 
or 59 
or 65 
. This illustrates that thanks to the last sexual encounter, the noble has again lowered his guard. The artist’s pleasure made him feel secure. Another huge difference is that for the first time, the main lead’s face looks carefree and calm. In the previously mentioned episodes, the lord had to feel the artist’s presence in order to be able to lie on the bed, yet he was still plagued with a nightmare or he was still stressed, as he feared the painter would run away, if he wasn’t next to him. In chapter 59, he looked tranquil and composed, nevertheless it was caused by his illness. The moment Baek Na-Kyum left his side and the noble couldn’t sense his warmth, he woke up. This implies that he was tense all the time. As you can see, fear was always following him in the bed. However, as time passed on, the nature of his anxiety changed. It was no longer linked to assault, but to abandonment. The noble was afraid that the artist would leave him behind. However, since he knows that Baek Na-Kyum chose him, his phobia of the bed was almost removed. And when the painter expresses his desire, he reveals that Yoon Seungho has already a huge importance in his life. Without him, he can’t feel good
. In other words, Baek Na-Kyum is already dependent on Yoon Seungho. Only him can provoke pleasure in him. In my opinion, the lord’s fear vanishes, because he feels needed. And remember that the lord stood up in order to force the commoner to hug him, so that the commoner would rely on him. As you can detect, reliance plays a huge role in the lord’s liberation. The bed is no longer feared, it has become a place that his lover likes and the latter needs his assistance to feel excitement. That’s why the noble is so relaxed. He knows due to the painter’s words and action that he is now accepted. He even saw and heard his painter’s moans revealing his pleasure.
At the same time, their sex position outlines another important aspect: It mirrors their position in the relationship. The painter is the one with the upper hand, while Yoon Seungho has totally submitted himself. Simultaneously, it also exposes that the lord is the painter’s support and strength. With him by his side, lord Na-Kyum is strong, because his words are finally listened and he is even encouraged to speak up. 
Yoon Seungho never judges the artist’s action or attitude. That’s why Baek Na-Kyum’s embarrassment concerning his orgasms slowly vanishes as well. First, in chapter 71 he either covered his mouth 
or even ignored a question out of shame. 
Then in the next episode, he hid an orgasm from his lover. 
However, in chapter 73, the manhwaphiles can view how the painter can voice his pleasure for the first time: 
Striking is that the moment the artist can express his thoughts and emotions, Yoon Seungho allows him to determine the space.
In other words, he incites Baek Na-Kyum to become proactive. Hence the peak is reached, when the artist confesses that he can’t get an orgasm without his lover’s help. Thanks to this conversation, Baek Na-Kyum can experience that there’s nothing shameful in their interaction. That’s why this panel symbolizes the liberation of the two protagonists: the noble forgets his fear of the bed, while the painter drops his shame concerning his climax. This explicates why both are really active in this sexual position. They are no longer paralyzed by their emotions. Note that the painter is no longer hiding his moan, he has his mouth wide open.
However, the love session ends abruptly, because Baek Na-Kyum seems to have fainted. 
Remember what I wrote in my previous analysis entitled “Words”. The lord had somehow developed a trauma due to the sex marathon. He had such huge pangs of conscience due to the painter’s sickness, thereby he had never forgotten it. I have to admit that my first reaction was that we would have a repetition of chapter 32/33. A doctor would be fetched. However, due to the examination of the sexual intercourse, I recognized that Byeonduck is showing us how the two main leads are overcoming their issues. Therefore I have a different impression now. In my opinion, Baek Na-Kyum is not unconscious, just exhausted. We have a clue that this “night” will be long, because we had two different moons in chapter 70 
and 71
, implying that some days will pass between the moment the main characters entered the bedchamber and the final panel from episode 71. It indicates that the protagonists will stay there for quite some time. And this made me realize that for the noble to overcome his recent trauma, he needs to be confronted with a similar situation, yet with a different outcome. This signifies in my eyes that Baek Na-Kyum is conscious, and as such he will be able to pay attention to his lover’s actions. Let’s not forget that in chapter 32, the main lead fed him water with a tender kiss. 
Then in chapter 50, he caressed the painter’s cheek 
and kissed him tenderly. 
However, the artist never got the chance to sense his love in a different way. The lord always expressed his love through sex, even in the bathroom, he was very sensual… while in the bedroom, his kisses and caresses showed care and pure tenderness. And it happened to Yoon Seungho as well. The latter never detected the painter’s caress at the physician’s. That’s why I believe that due to this incident, out of worries and fear the lord will react like in the past, but this time Baek Na-Kyum will witness this. Therefore he will perceive the lord’s affection in a new light. This is not just sex, his love goes beyond sex. And this can only move the painter, hence the same gestures will be reciprocated. That way, the lord is able to overcome his trauma. Not only he has been “forgiven”, but it will show him that he is loved, even if Baek Na-Kyum has not confessed yet. I am expecting that now the strokes and caresses will have a different nature.
But there’s another reason for this prediction. If you pay attention to the way they shared the bed in the past, you’ll note a progression. In chapter 59, they are facing each other revealing that they got closer due to the love session, , while in chapter 38 and 65
, the painter was turning his back on his lover revealing a gap between them. In this position, it gave the impression that Baek Na-Kyum was rejecting Yoon Seungho. That’s why the moment the lord expresses his affection differently, it will not only move the artist, it will change their relationship. Striking is that in that sexual position, they were indeed facing each other and the noble was gazing at his lover. He has neither abandonment issues nor a phobia of his bed. Therefore I come to the conclusion that they will relax in bed facing each other. Both protagonists will experience that they can show their love differently. Their liberation helped them to overcome their fears and traumas. As a conclusion, their emancipation will bring them closer.
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(chapter 73) Here, the relevant word is “enter”, an equivalent for invade. 
(chapter 73) Mess is a synonym for chaos and wreck. 
(chapter 73) Strangely, the word “bow” has two significations: a ribbon or a weapon. 
(chapter 73) In the fifth image, Yoon Seungho actually means seduction, yet he utilized the idiom “provocation”. Finally, we have Yoon Seungho’s favorite expression “fret”. During this night, he keeps mentioning it in connection to the painter: 
(chapter 72) 
(chapter 41) Baek Na-Kyum is his prey, and the lord is trying to catch his heart through sex. However, Yoon Seungho’s attitude is not consciously done, he is not aware that he is speaking like a hunter. More astonishing is that the painter’s vocabulary mirrors his lover’s: 
(chapter 73) the target is wounded (“it hurts”) and tied up. Even Yoon Seungho’s words are referring to a wound, as if the animal was bleeding to death 
(chapter 73) , as it keeps leaking 
(chapter 73) But the lord is known as an impatient man, which seems to be confirmed here. However, in reality it took him many months to be gazed and even accepted. Now that Yoon Seungho is seeing how affected the artist is with his words, caresses and kisses, he is so happy that he calls his lover 
(chapter 73) revealing that they have no longer a lord-servant relationship. This exposes how much the main lead wishes to be intimate with the artist. Therefore, he can’t simply wait contradicting himself. 
(chapter 73) His actions prove that he is definitely in a hurry.
where I had already pointed out that the noble was deluding himself by calling the artist an easy conquest. Back then, this comment made me so laugh, because chapter 42 clearly outlined that it wasn’t even easy due to the lord’s grimace during the intercourse. 
(chapter 42) And observe that this chapter confirms my interpretation. First, the noble has a similar facial expression 
(chapter 73) showing that he was serious with his saying: Your wish is my command. In addition, he wanted to demonstrate that he hadn’t forgotten his promise: not to scare him. 
(chapter 73) The noble and Baek Na-Kyum’s desires stand in opposition to the artist’s weakened physical condition. The latter can’t physically keep up, hence he faints at the end.
(chapter 73) Yet, I doubt that this will be noticed by the aristocrat. He is definitely too shocked by the incident. His lover fainted. In my eyes, there is no ambiguity that Yoon Seungho will panic again. He has three reasons for that:
(chapter 32) He felt so remorseful and was so worried that he ran away, too scared to face the painter and assume his responsibilities. However, he made sure that a physician was fetched. This terrible experience explicates why the lord panicked in chapter 50. He envisioned for one moment that he had overdone it again. 
The noble had such huge pangs of conscience that he couldn’t forget the painter’s poor condition. Hence he desired to verify if he had recovered in the bathroom.
(chapter 72) He was worried, but the painter reassured him. In truth, the heavy breathing was caused by a climax, which the artist tried to hide from his lover. Therefore, there’s no doubt that after this chapter, the noble will question his behavior again. As a hunter, he overestimated the strength of his “prey”. Moreover he will realize that Baek Na-Kyum’s words contributed to this incident. Let’s not forget that Yoon Seungho was following the artist’s request. 
(chapter 73) This time, the painter’s exhaustion occurred due to both protagonists. That’s why Yoon Seungho will realize that he has to become more responsible and can’t just give the whole responsibility to Baek Na-Kyum. He should have paid more attention to the artist’s health and physical condition. And Kim took advantage of the situation. Thus from that night on, the lord kept his distance from his lover. From my point of view, the valet used these expressions against the main lead. He had been targeting the artist, turning him into a prey, hence the painter could not refused. Kim’s MO has always been to mix cause and consequences. Besides, since he heard such words, he could only have a negative impression. The manhwaphiles shouldn’t forget that the valet is a pessimistic person due to “fortunetelling”. [For more read the essay “Fortunetelling”] As you can see, due to this incident the main lead learned another important lesson: consent. Therefore the lord said this later 
(chapter 75) 
(chapter 79) In the second case, he made sure that both were on the same page. He had felt coerced. Through this fainting, the main lead became more careful and responsible for both of them. The problem is that he was still influenced by his past experience: sex is like a battle… which was now transformed into a hunt. 
. (chapter 15) Secondly, Yoon Seungho repeats similar expressions: 
(chapter 14) And this is how I made the connection with this love session, as I was paying attention to the words. 
(chapter 14) It didn’t happen, because he was selfless… no, this was the consequence of Jihwa’s attitude who did nothing to “seduce” his friend. He refused to kiss him
(chapter 14), but like he explained, his visit was because he was giving in to Yoon Seungho’s ways. But we have to question ourselves: who wanted whom here? The second lead did visit his friend, as he was seeking his company for sex. He could have refused, as his friend never forced him, but he did not. Moreover, the lord made it clear that Jihwa was just coming for sex and nothing more, yet the childhood friend never denied it. 
, he never allowed him to see his weak side. In addition, Jihwa’s words were full of criticisms.
This is not surprising that Yoon Seungho was behaving in a similar way. He was reflecting the second lead’s behavior. In my eyes, Jihwa treated his friend like a real sex toy who was there to pleasure him, hence the fellatio is done to prepare the penetration. That’s why there’s no real exchange, the lord is very passive as well during the blowjob. He feels nothing at all 
. When the sex session started, he seemed to be in a hurry too
(chapter 15) However, Jihwa never truly invested his energy and effort to woo his childhood friend’s heart. This is no longer surprising why the second lead felt so lonely, even during their intimate time. Yet the irony was that the head-kisaeng was treated like a tool for Jihwa’s pleasure, and the latter never realized that. 
(chapter 72) Baek Na-Kyum’s words and reactions are the reason why the lord is so affected. But unlike in chapter 14, the painter asks for his lover’s help showing that making love implies the involvement of two persons and not just one. Like I had written in a previous analysis, the lord is discovering that giving pleasure to his lover is also receiving. Hence he blushes and becomes more passionate.
, I realized that we would witness the lord’s spiritual death followed by his rebirth. However, I have to confess that I had no idea when it would occur. The only clue I had was that it was related to the low-born’s abduction and planned assassination. Striking is that Jihwa’s nightmare was actually announcing the lord’s spiritual death: 
(chapter 50). But if you pay attention, you’ll observe that in this terrible vision, there were two dead people: the painter and master Yoon. That’s why both characters had empty gaze. 
This means that in truth the manhwalovers would assist to two “spiritual deaths”, Baek Na-Kyum and Yoon Seungho’s. But wait… Only the aristocrat was wearing a hanbok with phoenixes, not the painter. But I am certain that the painterofthenight lovers will recall the robe the lord covered the commoner with in chapter 45: 
Baek Na-Kyum was linked to cranes. Therefore, this signified that the painter’s death would be different. Note that the artist’s head is bleeding just like his body indicating that there’ll be a real transformation. My explanation is that he is supposed to come back to life as a crane. This beautiful bird means good fortune, happiness and longevity. I am quite sure that my readers remember the analysis about the animals embodying the two protagonists. Back then, I had explained that the lamb represented Baek Na-Kyum perfectly: innocence and purity, but this animal is also associated to sacrifice and selflessness, because in Christianity, the lamb represents Christ as both suffering and triumphant. And now, you understand why Byeonduck made the painter suffer so much. Moreover, the artist is also associated to the butterfly 
and the latter is also a symbol for rebirth. My interpretation is that Baek Na-Kyum will transform into a crane, hence there’s blood on his head and body. He will get a new identity. Furthermore, I had elaborated that all nobles were represented by birds: Jihwa imagined himself as crane
, while in reality he was a pheasant
The moment he is perceived as a noble, he becomes a crane. 
(chapter 66) This was the new version of Jihwa’s nightmare. It looks like the lord is mourning the deceased. The black hanbok with a white collar resembles a lot to the clothes Koreans are wearing at a funeral: black with white stripes. Besides, if I add this panel
. He waited, until he saw the artist opening his eyes for a brief instant.
In that moment, the aristocrat recognized that the artist was coming back to life. That’s why he called his name. As you can see, the lord only left his side after making sure that his life was no longer in danger. That’s why the lord has no eye in this scene. 
correspond to these empty eyes from Jihwa’s nightmare: 
He felt his presence, hence he was confused if what he saw in his vision was a dream or reality. In my eyes, this “dream” is important, as for the first time, his dream is less linked to desires and the future. It is strongly intertwined with the present. On the other hand, these terrible experiences made both main leads realize the importance of their lover in their life. While fearing for his death, 
Baek Na-Kyum remembered Yoon Seungho’s smile which made him scream for his help. The same occurred to the powerful noble, when he imagined that the painter would die. He thought, he would never be able to see the painter’s smile. There’s no doubt that first the aristocrat blamed himself, until Min revealed Jihwa’s crime. However, for Yoon Seungho, it was enough. Not only he hadn’t believed in his lover’s words, but also he had mistreated him. That’s why in the artist’s study, the lord died spiritually. Due to the gestures, the manhwaworms can feel the lord’s regret and heartache. 
, although he had done nothing wrong at all. His apology was sincere, and the main character had misjudged it. There’s no ambiguity that while sitting next to Baek Na-Kyum, the noble realized the painter’s true personality. Hence this is not surprising that Yoon Seungho shows such a respect towards Baek Na-Kyum later. In my opinion, when the master arrived in his mansion, he wanted to send away the kisaeng for two reasons. He had seen how weak the painter was and feared that the kisaeng would drag her brother away. We shouldn’t forget how the kisaeng managed her way to reach Yoon Seungho’s bedroom, therefore in his mind, she would act the same way. Moreover, if the painter were to disappear, the noble would never be able to redeem himself. In my eyes, he wanted to make it up to him. However, once he stood in front of the study, he recognized that he couldn’t do like nothing had happened. 
He heard the artist’s confession which was linked to fear and a certain reluctance to face the lord and his own feelings. Moreover, he realized that he had to respect the painter’s wish, he let Baek Na-Kyum take his destiny in hand. In other words, the dream of the painter presented the lord’s future action and decision. 
His words might sound confident, yet if the beholders examine more closely these, they will note the presence of a question, exposing the aristocrat’s certain hesitation. The noble is definitely lacking self-confidence due to his recent “death”. But I have to admit that for me, the real rebirth happens in the bathroom. Why?
, exposing a certain shyness. Moreover, his gestures are so gentle and precise
, because his armor melted away. Since water is associated to purification, it means that the bath represents the lord’s rebirth as a phoenix. But because the bird comes back from its own ashes, the animal returns in the form of a baby. That’s why the lord is so innocent and pure from chapter 70 on. First, he plays a prank in the tub.
Then in the bedchamber, he decides to switch roles…
, he looks and acts definitely like a playful child. This explicates why words can move him so deeply. 
At the same time, as a new born, this is not surprising that Yoon Seungho lacks maturity. Hence the painter has become the ultimate authority. 
Let’s not forget that Baek Na-Kyum transformed into a crane, which I associate to tranquility and wisdom. Just like his lover, he transformed into a crane in the tub. Water cleaned his heart and mind for good. This is not surprising that the artist is more mature than his lover. He had a different rebirth, as he reflected on his emotions and thoughts before the baptism. Thanks to Yoon Seungho’s teaching about critical thinking, the artist was able to free his heart and mind from the learned sir, and the baptism marked the final step. 
, nonetheless there are two huge differences. This time the lord has taken over the scholar’s position. The painter will be responsible for him, and the former will hope to be loved by the noble. This signifies that the phoenix will be able to shine thanks to Baek Na-Kyum. The latter will be Yoon Seungho’s good fortune, just like the lord has become the painter’s good fortune. A phoenix is a mystical and powerful bird, this explicates why the commoner could turn into a lord and as such into a crane. 
The phoenix made it clear that out of respect for father Lee, he wouldn’t do more than create a scandal
, yet this signifies that if there’s another incident, he won’t be respectful again. In my opinion, it already announces the purge. 
The lord is kneeling in front of his deity, the crane, making amends due to his “sins”. That’s why I am more than ever convinced that Yoon Seungho will create either a painting or a poem for his “god” at some point exposing his love and admiration. He is already treasuring the artist’s tongue and hand, therefore I am expecting him to recognize the artist’s true intelligence. Remember that in the past, he used to call him a fool
, from my point of view, he will realize his mistake. Baek Na-Kyum only received a single lesson about critical thinking and he applied it right away. Secondly, he never forgot his “lesson”, as he started reflecting about himself from chapter 46 on 
(“why”) and he never stopped it. This was particularly perceptible in chapter 70, when the artist remembered his past and realized that he had overcome his trauma caused by Jung In-Hun. Now, he is even applying this lesson concerning others 
He wants to know his lover’s motivation. Therefore, I come to the deduction that Baek Na-Kyum has matured so much that he will now be able to question the scholar’s words and actions. He won’t be able to be manipulated like in the past.
The crane proved him how brave, mature, strong and loyal he is…. while he was so blinded by his own fears and self-hatred. In his eyes, he is truly superior to him. Simultaneously, it is also understandable why the phoenix has problems to control himself in front of his god. 
The latter is not a blind and deaf idol who wants to be admired and worshipped constantly without giving anything in return. His god listens to his requests and wishes. 
The crane is the real god, while Jung In-Hun is a fake one. 
After examining the rebirth of the phoenix and the crane, my interpretation that Jung In-Hun will become the painter’s rival seems to become more and more certain. However, thanks to the phoenix’s support, lord Na-Kyum will be able to defeat his “learned sir”. Concerning Yoon Seungho, the latter will also have to fight against his own father, and he will definitely defeat and surpass him, since he is a phoenix. This is not surprising that the protagonists fell in love with each other, as their souls are very similar: both are associated to good fortune, which could only make the fathers jealous. 
Just after facing Yoon Seungho in his bedroom with an almost kiss
, he rushes to his study. Once arrived there, he wonders why his heart is racing so much and why he feels something in his stomach: 
(chapter 35). What caught my attention is that we have a similar scene in chapter 72: the painter is also questioning the origin of his physical reaction: 
. However, there’s a huge contrast between these two situations. First, the painter employs a different expression. It feels more real and precise than “butterflies”. From my perspective, it reflects the artist’s loss of innocence, or better said, his gained maturity. Moreover, due to his sexual experiences, he has a better understanding of his own body. Secondly, the fear has totally vanished, exposing that Yoon Seungho has truly achieved his goal. Finally, the other difference is that this time he is facing the lord himself. 
Back then, he only pondered about it after leaving the lord’s bedchamber. He was sitting behind the door. And if you recall the whole scene, you’ll notice that the artist’s heart started pounding, the moment the lord entered the bedroom. Moreover, the aristocrat removed his clothes so that the artist could see his back and later his chest. Consequently, I come to the deduction that the artist was so moved by the lord’s presence that his body was reacting immediately. This shows that both protagonists are affecting each other. One gets a huge erection, and the other feels butterflies inside. But more importantly, for the first time, the artist’s conscious was sensing his own body and the sexual attraction towards Yoon Seungho. Another parallel between these two scenes is the presence of the almost kiss: 
(chapter 72). In chapter 34, he must have observed how the painter reacted, he was definitely blushing, because he repeats these gestures during their wedding night. Strangely is that when the lord approaches his mouth in chapter 72, the readers don’t witness any “butterflies”, as we can’t hear the painter’s thoughts. However, there’s no doubt that Baek Na-Kyum is excited due to the presence of his reddening and the sweat, very similar to chapter 34. Yet, I believe that the commoner doesn’t realize it yet, because all his energy is concentrated on his mouth. He has to whisper Seungho-Ya. 
First, the manhwaphiles can observe the absence of the lord’s face and penis. Then when the lord came closer, 
Baek Na-Kyum could only see the master’s face. Then the painter was able to view the lord’s phallus, 
, the chest and the face were hidden by the low-born’s body. It was, as if Yoon Seungho had been cut in parts, and Baek Na-Kyum was exposed to them. In other words, Yoon Seungho showed him parts of his body and not his whole body. The artist should accept them. However, like the noble pointed out, the artist was physically reacting to him: 
But since the artist was looking at the noble through the mirror, he never got to face the lord’s body in his entity. And imagine that back then, the artist was already aroused by the master’s parts. This signifies that the butterflies in chapter 72 are much stronger. 
that just the thought and sensation of the penetration was strong enough to have him climaxed. Note that the artist’s exclamation (“oh”) is a signal that he is already feeling an immense pleasure that he can’t control, as he said the same word during his first anal orgasm 
As a conclusion, the moment Baek Na-Kyum saw the lord’s body with his erected phallus, his sexual desires had reached a new peak. 
This divergence is comprehensible, as the lord had to find a stratagem to be accepted by the artist. The use of the mirror was a calculated move, which he had already announced the night before. Moreover, he had been hurt and enraged by the commoner’s escape, hence he couldn’t show the same affection. Finally, he had no idea about his own emotions.
, the commoner was either not looking at him or sitting in a such a position that he couldn’t see the lord in his entirety. 
Then during their love session at the physician’s, the lord was so closed to the painter that the latter was not capable to look at his lover. Moreover, he was still avoiding the aristocrat’s gaze and face. 
, then later Baek Na-Kyum was no longer facing the noble: 
(chapter 64). Moreover, when he was able to look at the lord, he was hoping for a kiss, a sign of tenderness, which was refused. Moreover, his mind and body were still influenced by fear. 
, hence the lover couldn’t view the whole body and the erected phallus. He could only sense the erection through his foot. 
. Once arrived in the bedchamber, the noble was busy making amends, hence he was on his knees. That’s why I believe that we are now witnessing a major turning point in Baek Na-Kyum’s life. From my point of view, with such an experience, the artist will recognize that his affection for his lover is much stronger than he has even imagined. I can’t help myself connecting this scene to the first wet dream the painter had. He was already so attracted to Yoon Seungho that he wished to replace Jihwa and imagined, he was lying under the lord’s body. 
Just the view and the thought of the noble’s body aroused him so much that he had to remove himself from his trance, the moment he sensed an orgasm coming. This outlines how strong his sexual desires were. But now, it is different, because he is now excited by the lord’s gaze full of warmth and love. 
And imagine what this signifies for the painter. He is able to make someone smile… to make someone happy, which he didn’t see in chapter 49. We shouldn’t forget that the painter had always felt excluded and had abandonment issues. In other words, he saw himself as a burden, but this can only change, if his life gets a new meaning. His presence, orgasms and smiles can make Yoon Seungho smile and happy, this can only give strength and joy to Baek Na-Kyum. Let’s not forget that Yoon Seungho is a reflection of the painter, just like the latter is a mirror for the lord. 
, this signifies that we have to expect an elimination in season 2 for the same reason: treason. Thus in my opinion, the domestic’s actions will lead to an extermination. But now, some of you might be wondering how. For me, the second kidnapping and the events happening around this crime will lead to the purge. 
In addition, the low-born is now recognized as a “noble” by Yoon Seungho, which means that Baek Na-Kyum has now become the master’s official right-hand. 
, and Lee Jihwa definitely belongs to that category. After recognizing while composing the essay “Love, embrace and caress” that Heena noona must have listened to the guests’ conversations in the past in order to report things to the scholar, I came to this idea: What if Min leaks details about Nameless by acting like the second lead, so that the kisaeng chooses to contact the buffoon in order to hire him? With this theory, we would have a repetition of chapter 43 and 44. The manhwalovers should remember that in chapter 43, Min incited Lee Jihwa to commit a murder, while the Joker portrayed him as a savior. He would save his lover from the witch Baek Na-Kyum. 
Secondly, while Heena noona is speaking loudly, she doesn’t realize that her words are heard by Black Heart. 
And with such a situation, Min can seize the opportunity. While spying on her and discovering her weakness, he decides to manipulate her. But in order to fool the kisaeng truly, he needs to hide his face. So he starts talking about Yoon Seungho so that he catches her attention. The kisaeng listens to their conversation, especially if the impersonificator explains that he has a grudge against Yoon Seungho. He is planning to do something against his childhood friend who humiliated him twice, hence he plans to contact Nameless. Since the kisaeng never judged her spying actions as a crime in the past, she will think that she can use this to her advantage. She will ask Nameless to “rescue” her brother from lord Yoon Seungho. Let’s not forget that in the first part of the second season, we had Nameless acting with a kisaeng. 
It is also possible that she thinks that if a feud starts between the main lead and the young master Lee, then no one will pay attention to her brother’s disappearance. In other words, she will try to seize the opportunity of the quarrel between Lee Jihwa and Yoon Seungho in order to diver the attention from Baek Na-Kyum, a new version of this panel: 
Note that this panel was presented, while Heena noona was at the mansion. The manhwaphiles shouldn’t diminish the wrongdoings Heena noona has already committed. Like Yoon Seungho underlined it to her, she trespassed his property and arrived with guards, hence she definitely violated the law. 
However, in her eyes, her action was justified, because she imagined that she was rescuing her brother. And remember what I wrote in “Love, embrace and caress”. If Heena noona knew that leaking information was wrong, she legitimated it out of care for the scholar. Let’s not forget that the kisaeng is not afraid of human justice, but of divine retribution! 
In her eyes, the gods would approve her actions, since Joseon justice system is so flawed. Out of love she justifies her misdeeds. And since my perception about her was proven correct in chapter 71
, then you can imagine how I consider her words in chapter 68: 
In this scene, she tries to use the authorities in order to convince her brother to follow her. How ironic that she uses Joseon justice system now to achieve her goal, while in truth she just looks down on it due to her social status! I mean, she is right to criticize such laws, but this doesn’t mean that she is allowed to disrespect people’s rights as well. She is indeed a hypocrite, a similar version of Yoon Seungwon. In her eyes, rich nobles are all evil. Why? It is because her loved one is a poor low-noble. Like my reader Luzy remarked to me, she must have hoped that if she helped Jung In-Hun, the latter would help her too: leaving her condition as a kisaeng, the former version of this scene: 
But love can’t be used for committing misdeeds. And since the night is long for the lovers
, this violation could be perceived, as if she had attempted to hurt the wealthy protagonist. Her ruckus will be turned against her as evidence. It is still possible that a faked letter written by Kim pushes her over the edge, especially after witnessing how Baek Na-Kyum was treated during this night
Kim is speaking behind the door, the protagonists didn’t detect his presence, until the former spoke. In addition, the manwhaphiles are well aware that the episode 71 is a new version of chapter 37. The chapter 37 starts with the noble’s fellatio: 
As a conclusion, it becomes urgent that the artist’s position is fragilized. The valet has now lost the master’s favor (new version of chapter 52 
, because for the first time, his abuse of power was caught by the head-maid and the lord. 
In this scene, the readers could truly recognize Kim’s lie
. However, the head-maid couldn’t detect his lie for good, as the master permitted Heena noona’s stay afterwards. Yet, there is no doubt that the butler must have perceived this conversation as a possible source of danger. If she just asked the master, she would discover the truth and from that moment, the head-maid would no longer perceive him the same way. Note that she relied a lot on Kim’s judgment, therefore her colleague and the head-maid requested to know about his opinion in chapter 63
, a new version of the episode 17 
Both maids trusted the valet’s decisions and action. However, in the second season, the gap between the butler and the maids kept increasing. From my point of view, the incident with the lie must have pushed the head-maid to show a certain reservation and mistrust concerning Kim. She is no longer relying on his perception and behavior. That’s why in my opinion, she brought the meal to Yoon Seungho in chapter 69: 
He left them behind without any explication. This scene is important, as we don’t see the valet’s eyes the whole time. However, we glimpsed his memories: he was wondering about the physician’s strange behavior. Therefore I come to this deduction: the butler was worried, if his complicity was witnessed. That’s why we don’t see the butler’s gaze in the panel above. Moreover, if you look closely, you’ll notice the butler’s pouting mouth indicating that he is really displeased. With this new interpretation, it becomes understandable why Kim ignored the maids. He had other worries. He needed to know what the physician had witnessed exactly. At the same time, he made a huge mistake, because he disregarded the maids for the first time. He gave the impression, he stood above them and could do anything he wanted. He was not obliged to answer them. And from my point of view, his attitude was the reason for the two women to distance themselves from him. Note that in chapter 66
, the one with the green hanbok stood at the door, while the other followed Kim in chapter 67. In my opinion, they are now using their own critical thinking, which represents a source of danger for the valet. Dolls are not supposed to think on their own. 
Note how he is searching for his words. On the surface, the manhwaphiles had the impression, he was shocked by the scene, while in reality, he got scared, as he had been caught. Fortunately for him, Yoon Seungho blinded by his fear and wound didn’t question about the motive for the late visit. As a conclusion, the maids and the physician are all witnesses of the butler’s rudeness and possible manipulations. Remember that during that same night, Kim abused his position by threatening the physician
. But this is just a short-time solution. The doctor could definitely talk and as such indirectly reveal the valet’s complicity. Consequently, I deduce that for Kim, the maids and the physician represent a source of danger too. Hence he needs to remove them and the best way to get rid of them is to organize an incident leading to a purge: the maids and the physician will be his target. 
while he is legitimating that he is acting out of concern for the lord’s lover. Remember that each incident will be employed twice, but there exist some variation. But since Yoon Seungho is no longer under his control, he needs to create an incident, where he is requested to act on the noble’s name. He can take his power, if there’s a poisoning incident. He is the only one who knows that if the painter is hurt, he will lose his mind again. He witnessed it in the barn and his spy must have reported to him the following words: 
Back then, the identity of the culprit was never revealed to Yoon Seungho and notice that the maids were questioned first. Moreover, the lord experienced with his own eyes, how they looked down on him (chapter 38). And now, you will think… but what about Min’s plan? Let’s not forget that Kim has in reality a different interest than The Joker. For him, what matters is that Baek Na-Kyum is removed or is so wounded that the lord starts relying on Kim again. Since he has already attempted to kill him through the main lead and it never worked out, he needs to take a different approach. The drugging of the painter would be the perfect solution for him, a new version of the episode 36. He would get rid of all possible threads in one shot: the purge among the staff, like I had predicted… but the butler would be behind it. Consequently, my theory is that a drug will play a role in the second kidnapping. 
and chapter 36 
One failed, whereas the second succeeded. Striking is that during the second “drugging”, the head-maid was involved. But as you can imagine, Luzy’s idea led me to this theory: Kim will poison the protagonist.
However, the manhwaphiles shouldn’t forget in this incident, we had the two maids involved, 
I am quite sure that the readers will remember the butler’s words: this gesture was definitely a misdeed, worth of getting punished. However, back then no one got punished. Why? Due to Yoon Seungho’s good nature and leniency in the end. So we would have a new version of this incident. Nevertheless, like I mentioned above, we had two “poisonings” in the first season. One was a success and the other a failure. Since the commoner didn’t get hurt in the first “poisoning” 
, it means that the second will succeed. But more importantly, here is the twist. The victim of this “drugging” will be Yoon Seungho in reality!! I would like to point out that Kim never truly grasped the nature of the relationship between Yoon Seungho and Baek Na-Kyum, hence he won’t expect this turn of event. How did I come up with this theory?
Since the story is constructed like a circle, it means that we will have a repetition of this decision. However the chronology will be changed: the lord will give his own meal to the painter right from the start, while the former will eat the painter’s meal. The result is that Yoon Seungho falls ill. 
I would like to outline the parallels here. The Joker was talking to a domestic, and since the manhwaworms saw it once, they don’t need to see this repetition. I have already noticed that the author uses similarities, when it comes to the main leads. Therefore we have to envision that the Joker Black Heart met Kim in the shed and they came to an agreement. However, like I mentioned above, the butler is not obliged to follow Min’s instructions. Exactly like in chapter 56, when the noble approached his “student”, he just requested this: 
That’s why I came to this idea. Min’s kidnapping will only be used as a second measure, for the butler’s philosophy is prioritize his own interests: 
And now, I am quite sure that you are questioning how this is possible that he can change his strategy so quickly. In order to elaborate this interpretation, the painterofthenight’s lovers have to remember the chapter 35. In one single chapter, Kim played tricks: first, he imagined that the painter was in the lord’s bed and another sex night would have caused the painter’s death.
Then he proposed the medicinal tea (the drug)
He hoped that in his fury, Yoon Seungho would kill the artist. Yes, I judge the valet as very intelligent and perceptive. Why not? The painter as a commoner is also very smart. Imagined that when with one farewell, he could find closure and grasp the nature of his relationship with Heena noona and the scholar. 
Note that in this panel there’s an allusion to the artist’s wandering. I am expecting a new version of this. The painter will have some place to be: he will be sent away by Kim, the latter asking him to fetch the physician, as the lord has suddenly fallen sick. Knowing Baek Na-Kyum’s good nature and readiness to help lord Seungho, the painter won’t mistrust Kim’s suggestion. 
We all praised the butler for his intervention, while now I view it in a different light. On whose authority can he give a verdict? Actually, he should have reported it to his lord who would have made the decision. But note that in this scene, the butler plays the role of the judge. And now, imagine what happens if Yoon Seungho is “poisoned”.
And unlike in the past, the butler will ask the painter to bring the physician to the mansion. Knowing that Baek Na-Kyum cares for the master, he will listen to the valet’s suggestion and leave the property. He knows where the physician lives. And once arrived at the physician’s house, he will be abducted. How is it possible? This time, the doctor won’t be at his office and this is no coincidence. Either Kim or Min asked him to be absent so that he could feign ignorance later, the opposite behavior in connection with the first abduction. The valet will justify this, telling him that he needs to have an alibi. At the same time, it explains why an innocent doctor becomes an accomplice in the end. The physician chose silence and passivity forcing him to make another wrong decision… He needs now to cover up his crime.
However, in my opinion, the butler has been miscalculating something: the tailor’s intervention. Imagine that the moment the painter leaves the property, the town folks will notice him. Furthermore, he had already caught their attention in chapter 45: 
So after the chaos created by his disappearance, I doubt that the town folks won’t notice him. In my opinion, they will stop him and ask if he is escaping again. However, this time Baek Na-Kyum will explain the situation, the lord is sick and needs a physician. Let’s not forget that in chapter 29, the inhabitants were intrigued by the conversation between the scholar and the painter
, indicating that they will serve as witnesses, when the “crime” is discovered. 
(new version of this scene) and question him. In my opinion, Nameless will realize through the kisaeng’s words the existence of a conspiracy. From my point of view, the buffoon will recognize that someone is setting a trap and Jihwa will be framed, especially after hearing that someone impersonated him at the kisaeng house. Secondly, when Heena noona describes to the criminal how Baek Na-Kyum was treated by Yoon Seungho (tied up in a room), the Joker will realize that Baek Na-Kyum never revealed Jihwa’s crime. Moreover, the brother would have confided to his sister what truly happened. After hearing from the second lead that Yoon Seungho created a scene in Jihwa’s bedroom and warned him to never approach him again, Nameless will get aware that Yoon Seungho did forgive the second lead, hence he has nothing to worry. At the same time, Jihwa could tell him in his innocence that Min asked him to remain at home. Since he is doing nothing, then nothing bad can happen to him in Jihwa’s mind. And that’s how the criminal will become involved in the second kidnapping again. But this time, his role will be different, as he will recognize that if the painter gets hurt, Jihwa and himself will be framed. Hence he will pay attention to the painter and follow him. We will have a new version of this.
Since we have to expect a repetition of the incidents from the first season, I realized that one event hadn’t been repeated yet: framing the painter for a misdeed. And remember that in chapter 11, Kim played a huge role in this incident and it happened, while the painter was away. However, the moment Yoon Seungho reads the letter, his eyes will be able to perceive the truth: he is surrounded by spies… as the paper will content sentences from conversations between the two protagonists. Consequently, he will discover Deok-Jae’s disappearance and he will remember that night. That’s how the purge will take place. I am expecting that during the painter’s disappearance and the lord’s sickness, Kim sends the guards to arrest Heena noona. Through this terrible experience, she will recognize her wrongdoings. She will tell the authorities about Jihwa and his plan, but as a kisaeng she won’t be trusted. Moreover, the authorities will reproach her spying activities. She will definitely accuse the lord for threatening her 
, but everyone won’t listen to her, until Yoon Seungho appears and believes her. That’s how the male servant will be questioned. Through that terrible incident the kisaeng will learn a terrible lesson. And since Nameless could rescue the painter from the second kidnapping, Baek Na-Kyum will be able to defend himself and protect his sister. While Kim wanted to eliminate people among commoners, Yoon Seungho will decide to retaliate against the nobles by utilizing Deok-Jae’s death and his own poisoning. The result will be a real purge, which valet Kim didn’t predict. Both Min and Kim will experience why “ignorance is not a blessing”. However, I have the impression, Min will be able to escape the purge, while he will betray and abandon his friend, the noble with the mole, who thought that he was playing just a prank. There’s no doubt that this time, Jihwa won’t be spared, yet thanks to Nameless’ help, the noble will suffer less. 
a new version of chapter 44. The butler will justify his action, that he wanted to remove the painter from Yoon Seungho’s side. He did it out of selflessness and concern for the eldest master. His son was in love with a commoner, a scandal. Kim’s involvement will cause the return of father Yoon in the main lead’s life. 
You certainly remember that the number 2 is associated to woman, while 3 represent a man. What does it mean? 2 + 3 = 5. Five symbolizes a marriage. This explicates why The Pythagoreans thought of five as the marriage between heaven and earth. 
(chapter 20) Note that he was even accompanied with Kim, which became a witness of their marriage. This corresponds to the first kowtow. That’s why the author gave us such a panel: 
(chapter 21) The earth is symbolized by the house and the ground, while heaven (air) is embodied by the rain and the thunder. During this night, the painter and the lord discovered love and sensuality. Yet their wedding was not completed for two reasons. Remember that the main characters possess all the elements: the painter is associated to Earth and water, while the lord is related to fire and air. Yet, if you pay attention to the image above, you’ll notice that one element is missing: fire. The “painterofthenightphiles” can now realize why this night stood under the sign of illusion. Something was missing, real warmth and love. Yoon Seungho had not even realized his own feelings. Besides, let’s not forget that the noble was quite rough during that night. He only became really tender, after he had witnessed the painter’s tears, tears of happiness.
(chapter 21) The real reason for the “failure” is that one was drunk, while the other was impersonating the scholar. Both were not true to themselves. That’s why they couldn’t start a real relationship.
(chapter 58) The shoes are an indication of their different origins, the noble and the low-born. Here again, we have a witness: the butler who is represented by the bucket of water. And if you compare this panel to the one from chapter 21, you’ll notice that one element is missing again: the air. We have now the presence of water, the fire and the earth through the house. But since there is no sky and as such no moon, I come to the conclusion that their union couldn’t be celebrated, because the lord wasn’t still honest to himself. He hadn’t dropped his fathers’ principles completely. 
(chapter 20) With such an approach, the noble couldn’t truly object, his mouth was shut with a kiss. Anyway, this time Yoon Seungho gives him space and time to ponder about this. What caught my attention is that the artist bites his lip 
(chapter 71) while pondering. This gesture is important, as it has two significations: the painter is wondering if this situation is real. He doesn’t even trust his own senses which is totally normal, after living for so long with the loss of his body and senses. Secondly, it exposes his last inner struggle. Should he follow his instincts? Striking is that the low-born’s conscious is the one who makes the final decision. His critical thinking and free mind allow him to perceive the truth. First, he was never in love with the scholar. 
(chapter 71) And this situation (being cornered) reoccurred, when he moved in Yoon Seungho’s mansion. It was the same again… Jung In-Hun pressuring him, until he revealed his true thoughts: jealousy and contempt. For the first time, Baek Na-Kyum is detecting genuine affection and it comes from Yoon Seungho and nobody else!! 
(chapter 71) as the latter has to look up. Finally, we have the groom bringing his own bride to the nuptial bedchamber: 
(chapter 71) And just like in the first two kowtows, there’s a witness: Kim who is listening behind the door. 
(chapter 71) This image illustrates how the artist decided to listen to his heart. That’s why the readers can hear the artist’s heartbeat. His heart is racing so much that he blushed. Moreover, he can identify that the racing is not caused by fear, but by the lord’s affection. In other words, because Yoon Seungho and Baek Na-Kyum chose each other, they are now married.
(chapter 71), he is caressing it. He is not focused on ejaculation like in chapter 36.
. (chapter 71) This chapter is not just an illustration of a marriage, it shows us two men who are finally themselves, giving affection to each other with kisses and caresses. This signification is perceptible with the following panel: 
(chapter 71) Note that the painter is stroking the lord’s chest, while they both kiss each other. And this is not surprising that at the end, both protagonists close their eyes while kissing. 
(chapter 71) Both trust each other, they are no longer insecure, as they saw, heard and sensed the affection through the gestures and words. Yoon Seungho could only be happy to see that the artist was blushing due to him. Moreover, the low-born had several ejaculations without any penetration, exposing that this was not just a physical reaction. What caught my attention is the appearance of the master’s blushing. First, it started with the ear in chapter 70 
(chapter 70) and the redness has now reached his temple and cheek. Therefore I deduce that the manhwaphiles will witness the lord’s real blushing. As a conclusion, this wonderful night will help the lord to heal completely. By changing his approach, he obtained exactly what he desired the most: to be chosen. His dream came a reality.
(chapter 71) The man, Baek Na-Kyum, chose his bride, Yoon Seungho… since the latter is linked to the number 2, while the other is associated to manhood due to the number 3. And this final image announces the final step to their marriage. The wedding will be now completed, and red as the color of Asian wedding ceremony is present. First, we have the painter’s red shirt and later the blushing on both faces. 
(chapter 69) But there’s more to it. In my opinion, the physical touch, in the form of caress and embrace, played a huge role in the painter’s traumatic past too. However, before starting to explain this element, I need to elaborate how it came to this. 
(chapter 70) Then thanks to my readers @_Winnie_L_ and @
(chapter 67) Thus we have two possibilities. Either the head-kisaeng is someone else and Heena noona took over her role, or Heena noona became the head-kisaeng, but she never claimed Baek Na-Kyum as her son. Thus the painter ended up with a ghost mother. On the one hand, Heena noona acted like a sister in front of him and she requested from him to be called “noona”, on the other hand, she behaved like a mother towards Baek Na-Kyum. Observe that Heena is the only one with a name. The only difference is that the head-kisaeng relied on the kisaengs to raise the low-born, whereas the noble Lee employed his domestics. This explicates why Heena noona started acting like a mother. But this caused her to struggle due to her young age. She was so overwhelmed with this task, that she had to rely on the scholar. And there is a reason why the kisaeng trusted the low noble so much. She was not just blinded by her own feelings
(chapter 68). Her decision was influenced by her past experiences and fears. The head-kisaeng judged the learned sir as a good and responsible man. And how could he win her trust? Since the story is constructed like a kaleidoscope, this means, we must have a new version of this during the first season. In my opinion, the scene with the worker is the repetition from the past.
(chapter 29) First, observe that the young girl is sitting on the teacher’s lap and the learned sir is holding a book. So if someone saw this from far away, the beholder would think that the scholar is reading the book to the child. It even gives the impression that he is actually teaching the young girl to read. But note that in this scene, the low noble is in reality talking to the commoner. For the young girl, it means that she is forced to sit and do nothing. That’s why she turns her her head to the learned sir wondering what he is expecting from her.
(chapter 29) What is she supposed to do? Observe that he replies to her interrogating expression with a smile, yet he doesn’t give her any instruction. I would say, he treats her like a doll. And now, replace the young girl with Baek Na-Kyum, and the latter has to sit there for a while. You can easily grasp why the painter could only fall asleep.
(chapter 70) In front of the kisaengs, the scholar created the illusion that he was teaching, while in truth he just saw it as a diversion. This explicates why he utilized this idiom to Yoon Seungho. 
(chapter 6) Diversion has two meanings:
(chapter 29) And now the scene at the kisaeng house can only be perceived in a new light. 
(chapter 68) Jung In-Hun must have come to an agreement with a rich noble and made a deal with him. The presence of the painter was no coincidence, and it diverted attention from the real target of abuse: Yoon Seungho, who got dragged away. The painter and the other noona thought that Heena had been the victim of violence from a noble, but she was not. She served as diversion. Too blinded by her prejudices and own fears, the young woman wasn’t able to perceive the true nature of the learned sir. While she saw the scholar as a hero, because he hugged the painter and took him away from this terrible place, she never questioned the scholar’s attitude. If he had been a true hero, he would have rescued her and not abandoned her. She never got aware of his betrayal. In other words, the scholar helped to create a secret. This explicates why the learned sir is well aware of the nobles’ fear. In his eyes, they all have something to hide.
(chapter 1) Here, the witness was lying, as he was distorting the past, the painter wouldn’t draw erotic pictures constantly. The head-kisaeng didn’t take care of her son and during the day, the noonas were all resting so that the painter was on his own. This panel illustrates the painter’s isolation and loneliness. At the same time, I envision that the scholar visited the kisaeng house during the night so that he could approach the noonas, explicating why the boy would doze off too. Moreover, painting was a way for the painter to cope his loneliness and his loss of senses. As a conclusion, the painter was not only suffering from abandonment issues, but also from neglect which made him more and more dependable on Heena noona and the learned sir. 
(chapter 70) , in the middle of nowhere, surrounded by water and rice fields. While some might view these panels as quite idyllic, I interpret these as the opposite: Baek Na-Kyum had no roots and no roof over his head. He couldn’t even find a refuge, which reminds us of the scene in the first chapter: 
(chapter 1) This picture exposes the painter’s lack of attachment. He has no home, no wall to protect him… there’s only emptiness surrounding him, which contrasts so much to Yoon Seungho’s situation, who lived in a prison. Hence I understand now why Baek Na-Kyum is determined to remain by Yoon Seungho’s side. 
(chapter 68) For the first time, he has a room for himself, and even if he is pushed away, he can express his sadness and seek comfort in his room: 
(chapter 41) and 
(chapter 52). Note that each time, he was unhappy, he was requested not to cry 
(chapter 26) 
(chapter 68: he is sent away due to his tears) 
(chapter 70) If you pay attention, you’ll notice the only one allowing the painter to voice his wound and to shed his tears is indeed Yoon Seungho. Each time, he desires to know the cause for Baek Na-Kyum’s tears.
(chapter 1) The difference is even palpable in chapter 26: 
He left him some space and time to cry, hence when he returned, he didn’t say: don’t cry. He just makes this comment
(chapter 26). And like I underlined it before, the lord is always focused on the reason for the artist’s tears. This led to the confrontation: who is responsible for his heartache? 
(chapter 26) Sure, in the bathroom, Yoon Seungho is still very rude, however he never employs the negation. Nonetheless, the low-born could never perceive this divergence, as the nuance is not so obvious. This explicates why in chapter 41, the artist misjudged the noble’s intervention. When the latter wanted to see his face and as such his tears
, (chapter 41) the former refused to do so, because he anticipated that the lord would ask the same thing: stop crying. However, the master wanted to know the cause for his agony, which is totally different. This scene is really important, because it shows another issue. Baek Na-Kyum was never allowed to cry. His tears were associated to annoyance and burden. That’s why he desired to be left alone in the end. He feared that if the lord saw his tears, he would be requested to stop crying. And this fear of letting his tears coming up explains why the painter hid his eyes with his arm during the physical abuse.
(chapter 34) Under this new approach, we understand better 
(chapter 68) In my opinion, she hoped that if he voiced his emotions, he would follow her. She had an interest in this, that way she could express her disapproval and use her authority to force the painter to obey her.
(chapter 68) What the noona didn’t realize is that the main lead’s decision to respect the low-born’s needs (crying and not entering his room) was the reason why Baek Na-Kyum selected him in the end. There’s no doubt that the lord was associated to home for good, because he is the first one who allowed him to cry and to have a room, where he could seek refuge after getting hurt. Under this new light, the readers can better grasp why Baek Na-Kyum is healed now. 
, (chapter 46) when the latter was sent away, But she didn’t hug her brother. Why? It was to stop him from protesting. 
(chapter 46) But I would even go further. I don’t think that Heena noona used to embrace her brother. This perception was somehow confirmed in season 3. 
(chapter 94) Here, the infant hugged his noona, but she didn’t return his gesture. Moreover, she hadn’t stopped the laughing nobles as well. Furthermore, 
(chapter 66) It was the first time that Baek Na-Kyum got embraced by his noona. And all this, thanks to Yoon Seungho. In my opinion, the kisaeng got really scared and concerned for her brother. And there’s a reason for this lack of worry. She relied too much on Jung In-Hun. Her false perception is particularly visible, when she claims 
. (chapter 68) Why does she expect this? From my point of view, her words imply, she must have helped the learned sir in the past: one thing is sure. She was not entirely honest with her donsaeng here, as the manhwaphiles can detect the drop of sweat. But more importantly, we have to question ourselves if the gibang was not used in the past to spread rumors about the Yoons again, and Jung In-Hun could heard something. I am even envisioning that she must have reported conversations to him, a new version of chapter 24: 
Remember that in that scene the painter doesn’t comprehend the meaning behind this order. If this theory is true, then she never saw the consequences of her action, similar to her brother in chapter 24. If she truly did it, she must have justified this, because the learned sir needed it, she was responsible for him. 
(chapter 68) For me, her real “admiration” was for the learned sir, therefore it becomes understandable why she wasn’t bothered, if Jung In-Hun asked for her help in exchange for taking care of Baek Na-Kyum. According to my theory, the learned sir had brought himself the baby to the gibang, this means that in chapter 46, he could only accept the kisaeng’s request. He had no other choice, for in Heena’s eyes, they were somehow related. From my point of view, Heena noona hoped that Jung In-Hun would even assist her and help her to leave the gibang. But this never happened. In my opinion, there exists another reason why the painter was sent to the learned sir. And it is related to Yoon Seungho, the erotic paintings and the pedophile. 
. (chapter 70) And now, we have to question ourselves why the kisaeng chose to send away the painter in the end. From my point of view, it wasn’t really to protect him… since Baek Na-Kyum was now an adult, the role of the scholar was no longer necessary. First, the artist was supposed to be literate. At the same time, the low noble couldn’t take him any longer, when the kisaeng got hurt again. This kind of diversion was no longer possible. The man was old enough to intervene, hence not only he could have defended his sister, but also he could have investigated what was happening in the gibang. That’s why Heena sent him away to the scholar and observe that the noonas were not even informed. 
(chapter 97) In exchange for her services, she had to bring Baek Na-Kyum to Min, the noona would be able to escape the gibang. 
or piggybacking in chapter 70. 
(chapter 44) 
(chapter 10), then in chapter 24 he touches his shoulder and kisses his hands. 
(chapter 24) With my new interpretation, you can comprehend why he did this. He tried to use the same method from the past: he knew that physical touch would make the artist submissive. And the climax was reached in chapter 29 with the fake embrace and the betrayal: 
(chapter 29) From that moment, it went down again. We returned to patting 
(chapter 35) and strokes 
(chapter 35) and finish with this final touch of the painter’s cheek: 
(chapter 38) And the physical interaction reflects the learned sir’s loss of power. Despite his attempts, he was not able to obtain the artist’s submission like in the past. That’s the reason why he could only resent the artist. We have to remember that the low noble really detested this physical intimacy, hence he would tighten his jaw or grind his teeth. 
(chapter 24) Note that in many panels, we never see the scholar’s facial expressions, but there is no ambiguity that he could never truly hide his disdain. But the painter was still blinded by his “admiration” for Jung In-Hun. However, after the argument at the library, the painter lost his sight and hearing again. He was too wounded by the final blow. 
(chapter 46) Then the readers witness the return of the artist’s 5th sense (touching) in chapter 49. 
That’s the reason why the noble could finally get the painter’s attention afterwards. For me, the touching has always been the most important sense in his life, which explains why Heena and Jung In-Hun had such control over the low-born. Then in chapter 52, we assist to the revival of the artist’s sight: 
(chapter 52) And now you comprehend why Heena and Jung In-Hun were defeated. The hug in chapter 66 helped him to satisfy an important need: he was truly embraced while getting comforted. 
Back then, he recalled the repressed physical abuse. However, his conscious dismissed it again. However, this time it is different. The painter in possession of his whole body is reminded of the scholar due to Heena noona’s farewell. The closure he got by bidding her farewell triggered a long repressed memory too. The learned sir was the one who consoled him in the past. And while he recalls that night, the adult Baek Na-Kyum realizes that the scholar’s care was not fake in the past. He would keep him company and talk to him, he was his companion of the night. However, for me, this scene outlines his superficiality and indifference. He diverts his attention so that he wouldn’t feel sad any longer. But it was, as if he was ignoring his sadness, for he wouldn’t talk about the incident. 
(chapter 70 Then he makes the following reproach: he was lazy. 
(chapter 70) The learned sir will always be a part of his life, as he belongs to the past. As you can see, in this scene, Baek Na-Kyum was moving on. Therefore I interpret this scene as a real breakthrough. The painter is no longer under the influence of the scholar. The latter can not longer manipulate him like in the past [though now I believe that he is dead], and this revelation was triggered by Heena noona and her embraces. But at the same time, he is not rejecting or resenting the man. And this interpretation becomes even more visible in season 3: 
(chapter 94) His heart and mind are now in peace. He is no longer suffering from a guilty conscience. And this truly exposes that the artist’s abandonment issues were created by Heena. 
before kissing him. 
(chapter 70) He has the right to speak, while Heena noona and Jung In-Hun used the embrace and caress as a way to render Baek Na-Kyum mute. And since the affection through physical touch was a way to win the painter’s heart, there is no doubt that Yoon Seungho is on his way to win his heart. Now, the painter is finally looking at him and the scholar’s influence has been finally erased. Baek Na-Kyum is now totally over Jung In-Hun, as he has now only view him as a companion and friend, and nothing more. He is no longer his idol. In other words, the low-born has finally found closure. In episode 70, his heart is free.
(chapter 23) Ignorance is a blessing for him, because it allows him to let his master to be in the dark. That’s why the master relied on the valet all this time. Kim was his eyes and ears, therefore certain rumors didn’t reach the noble’s ears. 
(chapter 18) On the other hand, the butler let him know about this gossip. 
(chapter 22) Since Yoon Seungho perceives himself as cultured, because he reads so much, he could only laugh about this rumor. However, he never realized the origin of these gossips. The valet utilized the rumors in order to deceive everyone, including the main lead. That’s why Kim could only judge “ignorance as a blessing”, because it helped him to manipulate the staff, the town folks and the nobles. He had an interest to create a bad image about Yoon Seungho. This helped him to keep the main character in isolation and in the dark. Moreover, it reinforced the lord’s dependency on his assistant. In order to corroborate my interpretation, I will use a panel reflecting the true nature of their relationship: 
(chapter 11) Observe that the valet is not portrayed with eyes. This is not just an indication of the butler’s lie. The valet’s eyes became the master’s. This signifies that the words and the vision of the valet became the noble’s reality. At the same time, the noble’s mouth is closed and his hands are not present either. Note, he is getting dressed by his own valet. As a conclusion, he is entirely relying on Kim. He has no mouth, no hand, no ear and no eye. Everything belongs to the butler. This single picture exposes the butler’s true powers. The lord was totally deprived of all his senses and his own body, a real puppet. And this interpretation leads me to the following question: Who killed the servant in chapter 1? In my eyes, the noble was just the executioner, while the butler was the judge. Why do I see it like that? First, note that in the scene, the main lead has no eye 
(chapter 1) and he doesn’t want to know about the painter’s reasons for not painting any longer. I know, some readers might reject this idea, but I would like them to remember that we see the butler acting like a judge in front of the doctor, that’s why the commoner begs the valet (“Are you trying to have me killed”).
(chapter 1) and the butler didn’t need to be by his side, as he had a real control over the lord’s hands, eyes and ears. Now you understand why Kim really treasures ignorance. Simultaneously, the valet values knowledge, as it procures him power. 
(chapter 50) This idiom doesn’t only imply to ignore your feelings, but also to deny the existence of your heart. If the noble has no emotions, then he can be the perfect puppet. This explicates why Yoon Seungho had a relapse after this conversation. Despite his warning, the master did listen to the butler’s advice.
(chapter 65) That’s why there is no sincere apology. 
(chapter 65) therefore any incident must be covered up. At the same time, it implies as well that everything must be done in the shadow. That’s why without any spectator, he removes the snowman embodying the painter. The final panel contain all the butler’s doctrines. He will erase everything related to the past, acting as if nothing happened. It doesn’t matter, if someone gets destroyed in the end, because on the surface, it will look like he just cleared a way. He gives the impression that he helped the persons concerned, not taking into consideration how his actions and decisions will affect others. If someone has to pay the price for this, then so be it, as long as it doesn’t disturb his life. From my point of view, this scene is full of symbolism. From my perspective, he is ruthless and even willing to dirty his hand to a certain extent, since he is using a broom. However, this gesture exposes too that he is not directly soiling his hands. This is the reason why he is never directly involved with people’s wrongdoings. He will just push others to commit wrongdoings with remarks. They have to act according to his own thoughts and benefit. This interpretation is not exaggerated, if you compare this scene with Deok-Jae’s misdeed in chapter 46. The vicious servant used his own feet to ruin the artist’s creation 
or he pushed the painter with his own shoulder. 
(chapter 46) At the same time, with this new approach, it helps to understand why the butler’s evilness was never caught. He could always feign ignorance with such a behavior and was never directly involved.
, 17, 59). He also allowed the vicious servant Deok-Jae to betray Yoon Seungho and plan a murder
(chapter 51). He hoped that Heena noona would take the painter away 
(chapter 68) and he is now expecting that Min organizes a second abduction while framing others: Nameless, Heena noona and Jihwa. 
(chapter 62) Here, the noble stated that he adored the painter). This means that the light and warmth had finally reached the lord’s heart, which is also mirrored by the light in the panel. But the problem is that after the low-born’s disappearance, the master had the impression, he had been betrayed and abandoned. Hence he became enraged and blinded by his own wound. This is a sign that he definitely took it to heart. Moreover, we shouldn’t forget that despite the incident at the barn, the noble was not even able to stick to the rule, treating the artist like a sex toy. In the end, Yoon Seungho brought him to his own bed, indicating that he considered him as his partner. To sum up, the noble was still not honest to himself exposing the valet’s influence.
. Then another scandal appeared, when the lord punished the staff for not following his order (chapter 30).
As you can see, the uproar remained within the mansion in season 1. This is the reason why the noble retreated in chapter 30, when he was pressured by the other aristocrats. 
(chapter 33) Here, he was definitely avoiding any scandal. He was running away, although he tried to deceive the nobles by declaring that the painter would belong to him. And during the second season, the readers can observe a progression, the scandal and uproar is now reaching the town (chapter 64) 
(chapter 67)
(chapter 70) And this confession could be used against the lord later, hence after that night, Yoon Seungho kept his distance from his lover. Thus he said this to his lover in chapter 75 
and later asked if the painter was truly resisting. Slowly, he had internalized that consent was central: 
(chapter 33) and let Kim take the burden. Yet the more time passed on, the more the noble took his responsibility. He protected him from the maids and decided to buy him better clothes. This is no coincidence that in chapter 40, he implied to the painter that the latter could now rely on him. This progression is visible, when he took care of the painter in chapter 55. He covered him 
(chapter 55) and watched over him during the night. But this principle will be truly abandoned, the moment the lord apologizes properly, and this expectation was proven correct, as the real apology took place in season 3. 
(chapter 102) Nevertheless, for me, he truly changed a lot from episode 70, because there he expressed regrets for the first time
(chapter 71) The problem is that in the bathroom, he chose the wrong words. Hence the painter could only misunderstand him and pushed his hand away. While the manhwaphiles could witness his huge pangs of conscience, the painter never did. He was either unconscious (chapter 32) 
(chapter 49). And little by little, the lord learned how to apologize to his lover. In season 3, he admitted his wrongdoing right away. 
(chapter 82) Then later he tried to redeem himself. 
(chapter 84) Note that here, he was doing everything himself. He was no longer relying on Kim. Hence in the first version, I had voiced that the lord would apologize to Baek Na-Kyum, after the second abduction had been solved. And this expectation became a reality. The lord felt definitely huge pangs of conscience. 
(chapter 102) He is tasked to investigate how this tragedy could take place. Why did they get separated for so long.
(chapter 23), because he liked keeping people in the dark as well. We had a perfect example with the deal between Jung In-Hun, the painter and the protagonist. First, Yoon Seungho gave the scholar the impression that the former was just an uncultured fool, whereas in truth the low noble was the one deceived, because Yoon Seungho was giving him just an empty promise. At the same time, the rich noble lied to the painter, when he claimed that Jung In-Hun had come to see him. 
(chapter 7) However, it backfired on Yoon Seungho the moment the latter saw the painter’s reactions. He would run to his former teacher immediately, leaving the main character behind. Then he smiled to Jung In-Hun 
(chapter 7) and blushed in his presence. That’s the moment Yoon Seungho’s heart was moved, justifying the words in chapter 63: 
(chapter 63) No one has ever questioned how the master could treasure the artist’s smile so much? One might say that the first smile occurred in chapter 40
(chapter 40), but as you know, each event happens twice during the same season. So the lord experienced it much earlier. That’s why I believe that the first smile in chapter 7 played a huge role. The incident marked the return of the aristocrat’s jealousy, which had been buried for a long time. That’s why Yoon Seungho decided to reveal his plan. He hoped that with this new approach, Baek Na-Kyum would perceive him as a benevolent lord and look at him differently. He hoped that Baek Na-Kyum would smile for him. This explicates why the lord underlined the importance of connections and wealth. 
(chapter 7) Note that at the end of the chapter, he treated the painter as a real guest. He invited him to his bedchamber officially. 
(chapter 8) And observe that the noble was here smiling, he was already imitating the artist. This explicated too why not only his moves in this chapter were contradicting each other, but also Kim was introduced here for the first time. And note that from that moment, the lord never tried to trick the painter afterwards. Like I have already pointed out, the incident at the pavilion was definitely organized by the butler. And with this example, the manhwaphiles can see that the lord was applying the 6th rule as well, but dropped it due to the low-born’s reaction. This is not surprising why this manipulation ended up causing more and more pain. Yoon Seungho had brought him upon himself, revealing how the first doctrine “ignorance is not a blessing“. With this new observation, I perceive the episode 7 as a first major turning point. The lord was dropping the 6th rule (to utilize others in order to achieve his goal). However, this doesn’t mean that he abandoned the first doctrine. Quite the opposite… it took him a long time to realize why he couldn’t achieve his goal. In my opinion, the master started changing in chapter 67. Contrary to chapter 33
, Yoon Seungho couldn’t bear to hear how people would talk behind his back: a sodomizer and a beast who corrupted Lee Jihwa and others.
(chapter 67). Note that for the first time, the lord decided to defend himself
, correct people’s perception about him, which he never did before (chapter 18, 22, 57
). This coincides the return of the lord’s hearing and speech abilities. In chapter 67, he is using his own ears and mouth, he is no longer relying on the butler’s help. What the lord imagined to perceive as help was just an illusion. However, I believe that the lord decided to drop the first principle in chapter 68
(chapter 70). And note that when the painter confessed, he externalized his fear. 
. However, the huge difference is that Yoon Seungho’s mind’s eye is no longer focused on himself, but on the painter. This explicates, why the master decided to retrieve and to give him space. Without seeing his face, he could sense that there was affection, because the painter was crying. The readers should recall that the painter’s tears have always had a huge impact on the noble, because they healed his eyes, hand and heart. The manhwaworms can comprehend why the lord chose to let the painter determine his own fate. The presence of tears and the painter’s voice were able to remove the lord’s veil on his eyes and ears for good. I would like to remind the manhwaphiles that in chapter 68, Kim tried to destroy the lord’s own judgement by recurring to gaslighting and distorting the past. [For more explications, read this essay: 
(chapter 69) although he is sitting in his bedchamber. Imagine, he is no longer relying on the butler’s information contrary to chapter 56: 
(chapter 56) With this new approach, the readers can understand why the aristocrat can make such a comment in chapter 70: 
. Therefore I deduce that the butler can no longer control the lord’s body, since he is no longer required to be his eyes, ears and hands. However, this doesn’t mean that Kim is truly defeated. He still controls the staff, especially the male domestics. Here, I would like to make a little disgression. In my opinion, the butler played a huge role in the first abduction. How come that the servants were so sure that the painter had run away? 
(chapter 61) They were not present, since both protagonists were at the physician’s. From my point of view, Kim must have manipulated the servants… he just needed to imply that Baek Na-Kyum had escaped, while in front of Yoon Seungho, he would say the opposite later due to the commoner’s return: 
(chapter 62) There’s no doubt that with the painter’s appearance, he could use the incident to obtain more support from the servants. The painter had caused trouble again, he was responsible for their misery. But since he truly exposed his true nature to the main lead (abusing his authority, criticizing and judging his master), he can no longer appear in front of him. Right now, he has to lie low, hence he needs other people to be his eyes and ears. This explains why the servant is portrayed without eyes either
(chapter 70). The absence of the eyes is an indication that they belong to Kim, just like the lantern indicates that the domestic is acting on the valet’s order. And in season 3, we can observe a similar situation. This time, they faked obedience 
(chapter 99), while they badmouthed their master. 
(chapter 98) Because the lord feared to lose his lover, he didn’t pay attention to the domestic’s insult: 
(chapter 98) But the insult was the proof that they never treated the painter as a part of the household. He was just a spoiled brat. 
and gives orders
. He is truly rude. We could say that he treats the low-born like a servant, as though he wanted him to feel so little. Kim’s strategy was to remind the painter of his position: he is just a servant, a new version of chapter 52. Remember that Kim’s intention from the start of the second season was always to diminish the artist’s status: he is just a temporally favored servant, nothing more. Striking is that the domestic never says that the lord gave him the order to bring the painter. He uses here a passive sentence “you are to attend to him” which is important. That way, the servant can hide the identity of the person who requested this. And since the lord was looking at the intruder in a rather cold way, I believe that he didn’t expect Baek Na-Kyum.
However, when the door was closed loudly, the lord must have realized that this must have been Kim’s action. The lord didn’t mind, for it looked like the butler was helping him to improve his relationship with the painter. This interpretation was also confirmed in season 3. Yoon Seungho showed no desire to investigate the matter of “Jung In-Hun” or Deok-Jae’s death, for he was too much focusing on his lover. He kept saying that this was not of his concern. 
(chapter 98) However, he was totally wrong here. That’s the reason why the abduction could even take place. Because of the last incident, the main lead is forced to recognize that he needs to investigate the matter, as everything or everyone can affect his life. This is important, because that’s the only way for Yoon Seungho to recognize the butler’s wrongdoings. He encouraged him not to pay attention on others so that he wouldn’t detect his wrongdoings. Thanks this rule, Kim could live freely. 
(chapter 102) From that moment on, the light had now reached the mind. He could drop his self-loathing finally which was the foundation of Kim’s principle. It was okay to cry. These were tears of happiness and relief… He had been able to rescue his lover. This means that Yoon Seungho did everything what the butler rejects: the embrace as a way to console and apologize and the tears as a sign of regret and happiness. But why does the valet abhor them? It is because he could never admit his own mistakes and as such he could never beg for forgiveness.
(doctor Frost, chapter 211) 
(chapter 50) Here, the butler never cried, he just showed pity and sympathy towards Baek Na-Kyum, however he was not speaking from the heart. 
). Whatever choice you make makes you. Choose wisely.”
This would announce the butler’s complete loss of power. At the same time, it would signify that the lord is showing that he trusts Baek Na-Kyum and is using his hair to woo the painter. And this could definitely correspond to the master’s attitude: his will to open up. Simultaneously, he could express the following wish: he would like to comb his lover’s hair himself encouraging him to have a topknot.
(chapter 37)
(chapter 69)
Therefore, we could say that he was present in the farewell as well, because the scholar kept referring the moon to the innocent boy. Since I have already pointed that in each departing two people got involved, this means that their relationship is strongly intertwined with other bonds. Relatives or acquaintances affect the farewell.
That’s why he gave him an order “you ought to head back in” and the painter couldn’t argue. Moreover, the learned sir asked him to keep his promise, he needed him to work for him.
What caught my attention is the silence from the painter. At no moment, he can speak and bid farewell, and this is understandable due to the noble’s remarks. Although the commoner wasn’t the one leaving, he had the impression that he was abandoned. This explicates why the artist was wounded by this departure. 
Striking is that this scene was observed by the main lead and his butler. While the noble felt himself betrayed and abandoned, he was indeed relieved in the end that Baek Na-Kyum had remained by his side. Consequently, the first departure was marked by disappointment and heartache from the protagonists. Both felt helpless, as they had no saying in this. 
is an indication that he believed that his personal visitation had been successful. By pressuring his brother, he had finally been able to get the reply he desired. But the reality must have hit him hard later, because in the end, he just got a ruined painting of sodomy. And this explicates why the father ended up receiving the paper from his younger son. 
Imagine, he even desired to open the door of Yoon Seungho’s bedchamber. Hence, it is not surprising that the eldest brother didn’t follow his brother to the main gate. He didn’t feel obliged to pay his respect to Yoon Seungwon. To sum up, in this farewell, both characters were quite rude to each other, and Yoon Seungho showed no leniency towards the younger master, as the latter had violated the social norms first. This animosity was even encouraged by the valet’s intervention. And let’s not forget that in that scene, Yoon Seungho chose the painter over his brother. He asked him to remain by his side, because he was too upset and wounded by Yoon Seungwon’s sudden appearance and selfish request. 
There’s no doubt that this must have indeed disappointed Yoon Seungwon. His father still chose to focus his attention to Yoon Seungho instead of him, hence he kept looking at the closed door. Yet before leaving he blamed his oldest brother for his father’s lack of concern and respect. Striking is that the main lead was not present, yet through his mention, the brother gave the impression that Yoon Seungho was still part of the family despite the incident with the topknot and the long separation. Yet, Yoon Seungwon felt bothered that his own father didn’t even pay attention to customs. He didn’t send off like a respectful and dutiful father either.
Here, he reminded him that he was living according to their father’s principles, showing that despite the abandonment and betrayal, he never dared to drop his father’s doctrines. From my point of view, the ruined painting was given by Kim on purpose, to incite the father to intervene. Besides, we shouldn’t forget that the “letter” was delivered 
but Jung In-Hun didn’t care. In his eyes, he was just a low-born, and the former didn’t need him at all. 
Striking is that the low noble paid his respect to his sponsor out of obligation and nothing more. As long as Yoon Seungho was useful, then the learned sir would have to be polite and respectful. That’s why he bowed in front of the wealthy aristocrat. In other words, the scholar’s bow is fake
More importantly is that in this fourth farewell, the artist didn’t get the opportunity to bid farewell properly to his former teacher too. Neither Jung In-Hun nor Kim had informed him about the time of his departure.
Striking is that in that chapter, the rich main lead was the only one who desired to make the painter happy, hence he suggested the low noble to depart properly from the low-born. What caught my attention is the opened door in front of the painter. 
Why was the door left open like that? The manhwaphiles should remember that in that scene, Kim was already aware of the discussion between Jung In-Hun and Baek Na-Kyum at the library. And with this new approach, it becomes clear, Kim was hoping that the artist would leave the place, since he had been insulted and abandoned by his teacher. He had no reason to remain by Yoon Seungho’s side. Besides, we shouldn’t forget the noble’s words addressed to the learned sir: 
In other words, Kim was just waiting for the low-born’s departure, and in order to push the painter to leave the mansion, he made sure that he wouldn’t see Jung In-Hun leaving. This would reinforce the betrayal and abandonment issues the painter had felt due to the scholar’s attitude and words before. Moreover, we shouldn’t forget the parting between Jung In-Hun and his former pupil in chapter 35. 
In other words, he was showing her a huge respect and as such biding her farewell. He even acted as a real host, because he offered to send her off with a servant from his mansion in order to guarantee her safety. And if you keep in mind that he did nothing for his own brother, and the latter is a noble, while Heena noona is just a kisaeng, you’ll detect how much the lord has already changed. He is definitely determined to keep the artist by his side, hence he is aware that he needs to show him a different side from him. He definitely heard the painter’s confession, because in chapter 70 Yoon Seungho asked the low-born directly if he was afraid of him. 
She keeps questioning the lord’s authority and personality. However at no moment, the aristocrat doesn’t lose his temper. In fact, he even retreats, until the kisaeng’s brother intervenes to stop her. Another huge difference contrasting to the departure of chapter 35 and 44 is the change of attitude of both protagonists. While with the scholar, Baek Na-Kyum could say nothing and had to resign to his fate, in chapter 69 he is the one speaking. 
For the first time, he feels that he is not left behind, but he can determine his fate. Imagine in the past, he used to be sent away by his noona and he couldn’t protest.
, his behavior could only reinforce the painter’s choice. In other words, he gave the power to the painter to determine his fate and as such reinforced his certainty. For the first time, Baek Na-Kyum was able to send someone away and not the other way around. He could also choose his fate. Simultaneously, the painter helped the powerful aristocrat to witness with his own eyes that he was not left behind and was selected. Both helped each other to overcome their abandonment issues. And this explains why after the departure, Baek Na-Kyum remembers the past. Back then, he was hurt because he had been dragged again from his noona. The scholar tried to console him by saying that the moon was always by his side, 
but this couldn’t truly comfort the artist. And because in chapter 69, the painter experienced for the first time a real good farewell, he could only recall this incident. But unlike in the past, the moon appears differently. 
, he is not sad and not thinking too deeply as well. 
The missed goodbyes were the reasons why both main characters were deeply hurt in the past, both victims of circumstances due to the actions of selfish and ruthless people. 
Secondly, he allowed the main lead to touch him with the scarf. This submission was different from the past, because the painter was totally honest here and not wounded. Then after covering the artist’s throat, the lord pays attention to the low-born’s reaction.
He sees with his own eyes that this simple but tender gesture has already affected Baek Na-Kyum. The latter keeps blushing and if the manhwaphiles look carefully at the commoner’s gaze, they will detect a glimpse of hope due to the light in the eyes.
She blames him for affecting her relationship to her “brother and son”. That’s why she glares at the protagonist. Their mistrust is actually mutual. 
In her eyes, the main lead can be the only reason why Baek Na-Kyum is no longer listening to her advices and requests. In the past, he used to be so obedient and never talk back to her. He rejected not only her suggestions, but also her hand. 
And now, you are wondering why I am talking about chapter 68, when my main focus was chapter 69. The reason is simple: Heena noona is actually becoming more daring and defiant, because she feels legitimated in her actions. She has the impression, Baek Na-Kyum has become submissive due to the noble’s abuse. Let’s not forget that the artist also portrayed Yoon Seungho in a rather negative light before 
and he even added that he didn’t want to love him.
and adds that one of his servants will accompany her to the kisaeng house. Secondly, she questions Yoon Seungho’s decision, ignoring the fact that she did violate laws by entering the mansion with her guards. 
, the painter is here protecting Yoon Seungho. That’s why he yells at Heena: 
This displays that he is not protecting his sister here, he definitely disapproves her attitude. That’s why Baek Na-Kyum sides with the lord and is grateful for his behavior. 
Another evidence for the kisaeng’s threatening attitude is the master’s exhausted gaze. The return of “lord Seungho” exposes that the low-born is truly grateful with the lord’s decision and generosity. The commoner is able to recognize his honorable manners. Moreover, this shows either that the painter is trusting his words. This is not surprising that the noble is surprised and touched by the “thank you” 
, as it is a first for Yoon Seungho. No one has ever thanked him before, his guests took everything for granted, not even the painter. And with the return of respect, trust can only flourish and as such love. This new gaze from the aristocrat astonishes the painter as well. In my opinion, the painter witnesses a different gaze for the first time: his gaze is no longer impenetrable.
He can see through him, and sense his true soul. That’s why Baek Na-Kyum is moved and feels awkward. 
And now, you understand why the author chose to draw Baek Na-Kyum’s chin
, which is similar to the following panel: 
(chapter 35). Back then, the lord was exhausted and on the verge of giving up, until he saw the artist’s blush, which made him smile and gave him strength and hope again. In my opinion, the painter is in a similar situation, in the sense that he is already sensing that Heena noona is determined to reject Yoon Seungho. There’s a certain disappointment, that’s why he sends the kisaeng away.
Therefore I judge the embrace as less honest and more selfish from her part. She keeps attempting to change his mind. She is refusing to accept his resolution, hence neither the hug nor the scarf let her forget her decision: Baek Na-Kyum should follow her and not remain by Yoon Seungho’s side. This explicates why the warning from the servant in front of the kisaeng house ignites her resistance to resign to her fate. It pushes her to fight back. 
The worst is that the kisaeng still doesn’t know that he can’t write. 
If he revealed his illiteracy, he feared that she might get upset. Moreover, there is no ambiguity that the scholar made sure that Baek Na-Kyum would be blamed for his incapacities. Since Heena noona always viewed the teacher as a trustworthy person, but she didn’t trust the painter’s personality, the artist could only internalize the criticisms from Jung In-Hun. In his eyes, he must have been too stupid and was responsible for his inability, especially when Heena noona kept praising the low noble. Besides, since Baek Na-Kyum had been abandoned since his birth, he felt pressured to please Heena noona and never question her words and judgement. He followed her advices and prejudices blindly with the hope that he would get trusted by her. There’s no doubt that she loves him, yet love without real trust can only deteriorate the relationship in the long run. And now, imagine how the painter must have felt, when she entrusted him to Jung In-Hun. His insecurities must have increased. 
Moreover, due to her words, when she is justifying her resolution with the painter’s love and admiration, she gives the impression that she is trying to impose her own feelings onto her “adoptive son and brother”. 
And now, the manhwaphiles can sense why Baek Na-Kyum’s critical thinking was never developed. His desire to be accepted led him to become submissive and silent. Furthermore, he was never allowed to express himself (anger, powerlessness, fear etc.) The hug was used to shut his mouth. Due to her overprotectiveness, the kisaeng affected the painter’s personality: she increased his insecurities so that he withdrew more and more, and found refuge in painting. At the same time, he tried to please Heena noona more and more, therefore he adopted her prejudices and her admiration for the scholar. From my perspective, the kisaeng’s biased vision is the result of her own seclusion. She lives in the kisaeng house, hence she doesn’t interact with commoners in general. Her judgement about people is based on her own experiences, therefore she generalizes: rich nobles are all bad. She doesn’t realize that commoners and poor nobles are also humans, hence they can also be selfish and ruthless. Remember what I wrote before: her perception is influenced by appearances. What she sees leads her to judge people. Servants are humbly dressed, then she thinks, they are modest and not sneaky. 
: “Who do you think you are to put hands on him?” Who was he really to Baek Na-Kyum? If he had to be judged by the way he had treated the painter the day and the night before, then he was definitely abusing his power. Hence he had no right to decide about the painter’s future. That’s why he retreats and returns to his bedchamber. Although he desires to be by the artist’s side, he is well aware that he can no longer force himself onto the artist. And if he truly heard their conversation, then this signifies, he realized that there was hope for him, as the painter had developed an affection for him. Imagine that if he did listen to their discussion, this signifies that Yoon Seungho decided to overlook Heena noona’s metaphor: a symbol of misfortune. Anyway, in front of the door, he was not thinking about himself and his pain, rather about the painter. This mirrors Baek Na-Kyum’s words: he keeps thinking about the master. 
He doesn’t want to put pressure on him, because if he does, he will always feel insecure. After hearing that Baek Na-Kyum had remained by his side, because the scholar had hurt him
, Yoon Seungho’s heart had not only been wounded, but also poisoned. The butler’s revelation in chapter 50 gave him the impression that he had never been selected. That’s why he couldn’t trust the artist in the end. And now, you comprehend why I perceive Kim as really dangerous and evil. Kim fueled Yoon Seungho’s self-hatred and insecurities in order to tame and use the lord. Since the main lead’s biggest wish is to be picked by Baek Na-Kyum, he realized that he needed to give the painter some space and time to decide his own fate. There is no ambiguity that Kim’s words played a huge part in his resolution to give the painter the freedom to determine his future. When the butler mentioned the father
, his intention was to remind the main lead of his own suffering. Father Yoon was an abusive and controlling father who kept imposing his will onto the main character. The latter was pressured to obey. Yet, what Kim didn’t expect was Baek Na-Kyum’s resolution to remain by the lord’s side. The butler had imagined that after that treatment in the barn (he kept hearing refusal from the artist), the latter was resenting the main lead and would run away, if he had the opportunity. Simultaneously, he also envisaged that by comparing him to father Yoon, the noble would choose to send away the painter, do the opposite of his father: releasing from his prison. Kim made a huge miscalculation: he never anticipated the real depth of the master’s affection for the painter. He wouldn’t give up on him. The main character took the advice differently. And by giving the painter the freedom to determine his destiny, Yoon Seungho will be able to perceive himself the truth.
Yet the huge difference is that in chapter 69, he was mad at himself. However, as time passed on, he could calm down. Nonetheless, this doesn’t mean that he had forgiven himself. It was, as though he was punishing himself, when he sits on the terrace in the cold. 
On the surface, it looks like Yoon Seungho fell back into his bad habits. He destroys the room, then he drinks and smokes in order to numb his body and emotions. Let’s not forget that after the return of the painter in chapter 61, 
he was also smoking in front of the window, giving the impression that he was serene, while in reality he was literally boiling inside. However, I believe that this time, it is different. Note that the hand appears like frozen and emotionless in the panel, because the fingers are not moving. Besides, the gaze seems cold, yet clear. From my point of view, the aristocrat is here firm. He made the choice not to intervene and not to follow his emotions blindly. However, this doesn’t mean, he isn’t suffering internally, quite the opposite. The huge divergence from before is that he is willing to accept the outcome of the situation. Since he had been blinded by his own emotions, he is well aware that he has to ignore them. In other words, he is tormented, while waiting, but he doesn’t let it transpire. At the same time, we should remember that he is sitting in the cold as a sign of penitence. 
He was waiting for a signal. This explicates why the author allowed the manhwalovers to zoom on the noble’s face. In a brief moment, Yoon Seungho’s gaze mirrors his true soul
Nonetheless, there exists a divergence. In chapter 60, the wounded and desperate gaze was focused on himself, hence he is felt betrayed. In chapter 69, all his thoughts are evolving around the painter. He is definitely prioritizing the commoner now, despite his agony. 
. He made preparations, in case the painter would select him. Therefore, he is definitely more mature and responsible. He is not only learning from his mistakes, but also feeling remorse, which I can only approve as a teacher. Finally, he starts using his mind more rationally. 
Here he is feigning ignorance, and for a reason. If he had asked if the painter was leaving him, his inquiry could have negatively influenced the painter’s resolution again, an indication that he had already planned how to react in face of the verdict. That’s why after hearing the artist’s statement: 
he is so relieved 
, in chapter 69 Yoon Seungho walks slowly with dignity.
He is even followed by a servant showing that he is here indeed acting a honorable host. The other huge contrast is that he has already removed his manggeon. Besides, there’s light in his room now. It was, as though the lord had been relaxing in his chamber, and not waiting for the guest’s departure. Therefore he is not properly dressed, when the sister and the painter leave the study. His hanbok is opened, and without the manggeon. He looks like he feels enough comfortable around Baek Na-Kyum to show himself like that. He desires to create the illusion, he was well aware of her presence and had allowed it. Yet he didn’t pay too much attention to the scandal from the morning. At the same time, he doesn’t want to reveal to Baek Na-Kyum that he has discovered the true reason for his recent desertion. He is truly applying the philosophy from his butler: feigning ignorance. He acts, as if nothing had happened. There’s a reason for that. By doing so, he hopes that the artist will overlook his harsh treatment. In my opinion, as long as he has no idea of the outcome, he has to keep the pretense. If he expresses his wish too obviously, in his mind this can still affect the artist’s decision. He can still leave at any moment. As a conclusion, he behaves in a totally opposite way from the previous night and from the morning. He is willing to heed his words. 
(here as contrast: chapter 66)
He couldn’t forget the clothes left behind during the night of the abduction. 
While he grabbed the commoner by the throat and pushed him against the wall, this time he gives the artist’s neck with the scarf. 
However, in chapter 69, the moment the painter calls him “my lord” and “sir”, he indeed acts more like a lord. Since the artist is considering him as his master, then he has to behave like one. That’s why he gives his permission to the painter. 
didn’t get fulfilled. The painter was still not looking at him the same way he was looking at his noona and the scholar. 
That’s why Baek Na-Kyum is represented without eyes. Nevertheless, unlike in the past, the aristocrat doesn’t get enraged and resent the painter. In fact, this reminds him that he always wanted the painter to smile. That’s why he grants him the wish to follow his sister to the door. And with this decision, he actually achieves his goal. For the first time, the painter is able to smile. 
but out of true respect. He sees Yoon Seungho like a true master, who can be generous and affectionate. The image of a lord with mood swings is not longer existent in the painter’s eyes. And now, you grasp the impact of the butler’s manipulation. The latter created a fake bow in chapter 12, by telling the painter that Yoon Seungho was a terrible master due to his bad temper.
He had disguised this negative perception by mentioning the lord’s traumatic past. However, by outlining that he had worked for him for a decade and he was still scared of him, he was insinuating that the time spent with him was the cause of his pity, and in reality, the lord was indeed true to his reputation. During this night (69), this negative notoriety has been removed, because in front of him, Baek Na-Kyum only sees a calm and gentle master, who treats him and his sister very well. So the words he told his sister, he treats me very well,
the hearing. Yoon Seungho has to do more than the painter. He needs to earn the painter’s trust again, hence he externalizes his thoughts: he trusts the honesty in the artist’s words.
caught my attention. Striking is that neither the noble nor the painter cared too much about that gesture. The artist was too shocked due to the huge scandal, and the main lead had the impression, he just wanted to taste the artist out of curiosity and interest. So there was no deep meaning in the caress, yet this gesture was witnessed by the scholar Jung In-Hun.
(Chapter 18) And this not only shocked him, but more importantly, it really made him jealous. 
Imagine, he was upset, because the painter had been the recipient of a caress from the powerful noble. Yet, he didn’t feel repulsed, just displeased and resentful But if he was jealous, then it signifies that he desired to have received this mark of attention. That’s the reason why I come to the conclusion, Jung In-Hun would have even accepted the noble’s advances, if it meant that he would get some benefit from it. And this interpretation is even confirmed, when you compare it with its reflection in chapter 35. 
(chapter 35) He must have realized that he was on the verge of losing the artist’s favors. That’s why he reminded the painter of his “loyalty” and “promise”. In chapter 35, Yoon Seungho was the one jealous, hence imagine the resent and jealousy Jung In-Hun must have felt in chapter 19. Yoon Seungho had even cut ties with another aristocrat due to the low-born. But unlike the scholar, Yoon Seungho’s jealousy was much more intensive to the point he would have killed the artist, if he had set a foot outside the mansion, though I doubt that he would have done it for real. 
But why are these characters jealous? 
(Chapter 19) In truth, he projected his own thoughts onto the painter. He wanted to be the one getting closer to the powerful aristocrat, and would do anything in exchange for his own interests. Simultaneously, he needed the artist to remain obedient and loyal, so that he wouldn’t become a rival. And now, if we examine the protagonist’s jealousy in chapter 35 with this definition, we recognize that it is related to the sex marathon. Yoon Seungho had envisaged that after that event, the painter had finally accepted him as his partner, and their relationship had changed. Besides, after his return, Baek Na-Kyum had been in his bed and had never reproached the sexual encounter leading to his illness. Therefore, he had envisaged that the commoner was slowly accepting him. 
(Chapter 35) Moreover, he caresses his head 
(chapter 35) after finally asking him about his interest. This scene made him realize that he needed to get to know Baek Na-Kyum better, and their relationship shouldn’t only be limited to sex. Hence he invited the painter to his bedchamber that night. In my opinion, he really hoped to initiate a conversation. That’s the reason why he was writing something, he hoped that Baek Na-Kyum would ask, but due to the aphrodisiac and the “warning” from Kim, the artist didn’t dare to speak. As a conclusion, we could say, Kim would have totally succeeded to ruin Yoon Seungho’s plan, if the brother hadn’t appeared that night. At the end, Baek Na-Kyum did earn the lord’s trust, he was able to sleep by the lord’s side. 
(chapter 35) 
(chapter 67), unaware that she is trusting a terrible servant who is determined to hurt her son. This reminds us of the chapter 35, where Jung In-Hun risked the painter’s life. I have to admit that after comparing the scene from episode 19 with 35, I had the impression that Jung In-Hun could have been demonstrating his affection in order to show off to the lord that the painter would only listen to him. Let’s not forget that in chapter 30, the teacher tried to sell off Baek Na-Kyum by telling Yoon Seungho that the artist would only obey to him. And in both cases, Jung In-Hun never recognized the real situation: he was putting his life in danger. And observe that we have many parallels in chapter 69 with chapter 30 as well. We have the painter’s intervention
(chapter 69) This explains why he asks him to follow his mother only to the front gate. That’s the limit of his trust. I would even add, he can’t bear Baek Na-Kyum out of sight. That’s how much he loves him. He needs to feel his presence close to him. And exactly like in chapter 35, the readers sense the importance of the door. While in episode 35, the gate was associated to life or death, now the door symbolizes trust. Within the building, he will put his faith in the artist’s words. Finally, we have another allusion to chapter 35: the reference to coldness. 
And this parallel reinforces my perception about the valet. He is a hypocrite, because he incited the lord to go to the window, while claiming that it was cold. That’s why I perceive the chapter 69 as a good sign. Yoon Seungho is definitely willing to trust the painter. He let him make his own choice, and the moment Baek Na-Kyum expressed that he was not leaving the mansion
(Chapter 80) He had once again listened to the butler’s advice… How can I be so sure? It is because the real author of the threat was the butler and not the lord. 
(chapter 77) The young boy was looking at someone else. He would stop looking at him like that. 
(chapter 57) The butler would lose his influence over the boy. Under this new light, you comprehend why he decided to betray father Yoon after the straw mat beating. The young boy was rejecting him and despising him. 
(chapter 77) Yoon Seungho’s gaze was telling all his emotions and thoughts. That’s the reason why the butler isolated his master for so many years. And note that in chapter 69, he projected his own thoughts onto the painter again. Since the butler has always backstabbed, betrayed and abandoned Yoon Seungho, he imagined that the artist would have a change of heart too… like Kim always did in the past. Naturally, this is the negative version of a change of heart: not compassion and remorse, but resent and jealousy!!
(chapter 77) If the painter leaves the mansion, the butler will make sure to portray the painter in a negative light. But there’s one thing that Kim overlooked: Yoon Seungho’s ability to learn!! Remember that jealousy is there to make the partner realize that he needs to improve his behavior. Since he mistrusted the painter’s choice, he realized later that he needed to earn the artist’s trust first. Therefore he made the following promises: 
(chapter 75) must have been an eye-opener for the wealthy aristocrat as well. How can he expect “loyalty and trust” from Baek Na-Kyum, if he is himself a fickle man by nature? With such words, the artist encouraged the lord to stop wavering and doubting his lover. He needed to show his love and trust first, before expecting it right away from the low-born. And now, you comprehend why Yoon Seungho started courting Baek Na-Kyum. He needed to show his trust and love in order to obtain it. And in chapter 80, he finally succeeded it. Therefore the bride’s abduction is doomed to failure. Kim won’t be able to achieve his goal. However, there’s one thing that this incident will make the lord recognize that he trusted the wrong person. He should never have listened to the butler’s advice and threatened the kisaeng, because this meant that he was mistrusting his lover! 
(chapter 50) I tried to find answers by speculating. However, my assumptions were totally wrong due to the lack of information. Only time and new chapters helped me to understand the story much better. Thereby I could better anticipate its progression, and comprehend the reasons for the characters’ actions. Due to the constant examination, I made the following observations:
(chapter 33) 
(chapter 56), and there’s always a drop of sweat on his face. However, if you pay attention, you’ll notice that the valet is never seen washing. He carries the bucket around, and that’s it, which stands in opposition to Baek Na-Kyum. The latter cleans his own underwear, but also the protagonist’s face
(chapter 55). 
(chapter 16) Here, he was wondering how the painter was able to create the painting, while he didn’t seem to look at them the whole time. What caught my attention are two elements:
(chapter 49) The painter expressed his thoughts: he only saw the noble as a sex toy, the main lead was the one who should give pleasure to Baek Na-Kyum. Yet despite the hurt, Yoon Seungho was willing to accept this situation. They would no longer exchange their thoughts and emotions. He was already lowering his expectations. At the same time, he couldn’t help caring for the low-born. He caressed his cheek and kissed him gently at the end.
(chapter 50) And this scene reminded me of the main lead running to the scholar’s room in chapter 28/29
, after witnessing the artist’s desertion. There was a time jump as well. Therefore I came to the conclusion that the night in chapter 48-49-50 has the same importance than the night with the forced sex and fellatio. This explicates why the lord has a sword again. Back then, he took the weapon due to his jealousy, hence we can definitely conclude that he is angered again due to the return of his jealousy. So chapter 50 was not only a reflection of the episode 16, but also of the episode 28-29. 
(chapter 50) What had triggered his fury and jealousy?
(chapter 21). The paper in the book is very similar to the poem in chapter 4. Remember the theory I exposed in the essay “hypotheses about the second season”: Yoon Seungho had not returned the original poem, but given the artist his own poetry. So if he didn’t give back the scholar’s poem, then what did he do with it? I doubt that he would have kept it, hence I deduce that he must have asked his assistant to throw it away, exactly like the painter in chapter 44. However, Kim must have read it and kept it, well aware that this could be of use later. From my point of view, the butler must have entrusted it to the teacher with the hope that he would leave the mansion. And I can imagine that when Jung In-Hun left his room, he didn’t take it with him. That’s why it ended up again in the butler’s hand. However, if the lord discovered that the poem had not be thrown away, he would have realized that Kim had disobeyed him. That’s why I came to rule out the first possibility. 
, the readers should expect that this picture will be used twice during the second season. Because I already exposed that Heena noona recognized the painter’s presence due to the inauguration painting
(chapter 65), it is definitely possible that Kim planted the picture in such a way that Yoon Seungho’s jealousy would get triggered, a new version of the panel from episode 41. Let’s not forget that the aristocrat was not present, when Baek Na-Kyum decided to discard the drawing. Kim was quite clever with this move. As he knew that the noble had now just a purely physical relationship, he could only get infuriated, when he saw the picture. He had already sensed the painter’s admiration in the drawing: the image oozes pure adoration and spiritual admiration, something Yoon Seungho has always been longing. Hence the noble could only get wounded with this terrible experience. I can imagine that Kim could have praised the picture in front of his master (a new version of chapter 44
), then added that Baek Na-Kyum had trusted him with the picture to give to Jung In-Hun. Kim hoped with this intervention not only to separate the couple, but even to have the painter killed by the main lead, a new version of chapter 35. 
But what he didn’t expect is that the noble would rush to the teacher’s room, and not to the study. However, his delay could be explained differently. He had been busy giving the sentence to Deok-Jae, the straw mat beating. And this leads me to the following observation: denunciation. In chapter 28, Deok-Jae covered up for Kim’s betrayal, for he hoped that Kim would come to protect him. 
(chapter 51) The man believed the butler, because he had not covered up for him about the prank with the spoiled rice. Finally, I discovered that this expression “how strange” was used by someone else: 
(chapter 37) It was the fake servant who had mentioned the purge! This means that someone had betrayed the Yoons, tattled on them! At the same time, the words from the old bearded man implied that the patriarch Yoon had been the denunciator. Thus he could expect the purge.
(Chapter 37) As a conclusion, the expression “how strange” is connected to denunciation and deception! I have two other evidences for this interpretation. Jihwa had also spoken like that, when he had heard from the amateur spy that his master had a change of heart! Here again, we have spying activities and denunciation. 
(chapter 13) Finally, observe that in season 3, Baek Na-Kyum is portrayed and stigmatized as a traitor. 
(chapter 91) The maid’s statement (“I’m surprised…”) truly exposes that the painter had such a reputation among the staff. The so-called treacherous nature of the painter served as a justification for Kim’s punishment. The butler’s kindness had been used against him. He had been sentenced to the straw mat beating, because he had allowed the noona to enter the mansion for the painter’s sake! In that scene, the maids had been tasked to leak a certain information to the couple: the existence of the kisaeng’s letters. That way, the painter could accuse his lover of his deception. He had kept away the letters from his noonas. However, the separation didn’t take place, because the painter didn’t hear the comment from the maid. He was no spy! 
(chapter 91) But Yoon Seungho is one, for he is the surrogate son of the butler… who listens to conversations in the shadow! 
(chapter 77) His presence was undetected in the courtyard, until Bongyong wounded the painter. Here, he came out of the shadow! 
(chapter 78)
, whereas the butler didn’t consider him as a servant in chapter 23
, another evidence for the valet’s hypocrisy. 
Bebebisous33s' analyses in K-Dramaland and Manhwas 