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 and from the Renaissance, Veronese’s contemporary era. The Græco–Roman architecture features Doric order and Corinthian order columns surrounding a courtyard that is enclosed with a low balustrade; in the distance, beyond the courtyard, there is an arcaded tower, by the architect Andrea Palladio. In the foreground, musicians play stringed instruments of the Late–Renaissance, such as the lute, the violone, and the viola da gamba. Among the wedding guests are historical personages, such as the monarchs Eleanor of Austria, Francis I of France, and Mary I of England, Suleiman the Magnificent, tenth sultan of the Ottoman Empire, and the Holy Roman