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 refectory of the Monastery of San Giorgio Maggiore, Venice. The full-sized (6.77m x 9.94m) digital facsimile is composed of 1,591 graphic files, and was made by Factum Arte, Madrid, on commission from the Giorgio Cini Foundation, Venice, and the Musée du Louvre, Paris. In 1989, the Louvre Museum began a painting restoration of "The Wedding Feast at Cana" (1563), which provoked an art-world controversy like that caused by the eleven-year Restoration of the Sistine Chapel frescoes (1989–99). Organised as the Association to Protect the Integrity of Artistic Heritage (APIAH), artists protested against the restoration of the 426-year-old painting, and publicly