The Wedding at Cana and domestic maintenance; be provided a barrel of wine; and be fed in the refectory. Aesthetically, the Benedictine contract stipulated that the painter represent “the history of the banquet of Christ’s miracle at Cana, in Galilee, creating the number of [human] figures that can be fully accommodated.” That Veronese use "optimi colori" (optimum colours) — specifically, the colour ultramarine, a deep-blue pigment made from lapis lazuli, a semi-precious, metamorphic rock. Assisted by his brother, Benedetto Caliari, Veronese delivered the completed painting in September 1563, in time for the "Festa della Madonna della Salute", in November. In the 17th century, during
The Wedding at Cana by Pope Pius VII, the Neoclassical sculptor Antonio Canova negotiated the French repatriation of Italian works of art that Napoleon had plundered from the Papal States with the Treaty of Tolentino (1797) — yet, the prejudiced curator of the Musée Napoléon, Vivant Denon, falsely claimed that Veronese's canvas was too fragile to travel from Paris to Venice, and Canova excluded "The Wedding Feast at Cana" (1563) from repatriation to Italy, and, in its stead, sent to Venice the "Feast at the House of Simon" (1653), by Charles Le Brun. In the late 19th century, during the Franco–Prussian War (1870–71), "The