The Wedding at Cana Jacopo Bassano, playing the flute, Tintoretto, also playing a "viola da braccio", and Titian, dressed in red, playing the violone; besides them stands the poet Pietro Aretino considering a glass of the new red wine. "The Wedding Feast at Cana" (1563) is a painting of the Early Modern period; the religious and theological narrative of Veronese's interpretation of the water-into-wine miracle is in two parts. I. On the horizontal axis — the lower-half of the painting contains 130 human figures; the upper-half of the painting is dominated by a cloudy sky and Geæco–Roman architecture, which frames and contains the historical
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