The Wedding at Cana elevated walkway, a man watches the banquet, and a serving maid awaits for the carver to carve an animal to portions. To the right, a porter arrives with more meat for the feasting diners to eat. The alignment of the Jesus figure under the carver's blade and block, and the butchered animals, prefigure his sacrifice as the "Lamb of God". bottom-right-quarter — a barefoot wine-servant pours the new, red wine into a serving ewer, from a large, ornate oenochoe, which earlier had been filled with water. Behind the wine servant stands the poet Pietro Aretino, intently considering the red wine
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