The Wedding at Cana in his glass. bottom-left-quarter — the steward of the house (dressed in green) supervises the black servant-boy proffering a glass of the new, red wine to the bridegroom, the host of the wedding feast; at the edge of the nuptial table, a dwarf holds a bright-green parrot, and awaits instructions from the house steward. II. On the vertical axis — the contrasts of light and shadow symbolize the co-existence of mortality and vanitas, the transitory pleasures of earthly life; the protocol of religious symbolism supersedes the social protocol. In the wedding banquet proper, the holy guests and the mortal hosts
The Wedding at Cana Feast at Cana" the most expansive picture in the paintings collection of the Musée du Louvre. At Venice, on 6 June 1562, the Black Monks of the Order of Saint Benedict (OSB) commissioned the painter Paolo Veronese to realise a monumental painting (6.77m×9.94m) to decorate the far wall of the monastery's new refectory, designed by the architect Andrea Palladio, at the Basilica of San Giorgio Maggiore, on the eponymous island. In their business contract for the commission of "The Wedding Feast at Cana", the Benedictine monks stipulated that Veronese be paid 324 ducats; be paid the costs of his personal