I imagine, from its introduction there, that it
had a mystic signification, and referred to a divine _Sposalizio_.
In this sense, the treatment is perfect. There are just the number
of figures necessary to tell the story, and no more. It is the bride
who is here the conspicuous figure, seated in the centre, arrayed in
spotless white, and represented as a nun about to make her profession;
for this is evidently the intended signification. The bridegroom is at
her side, and near to the spectator. Christ, and the Virgin are seated
together, and appear to be conversing. A man presents a cup of wine.
Including guests and attendants, there are only twelve figures.
The only fault of this exquisite and graceful composition, is the
introduction of a cat and dog in front: we feel that they ought to
have been omitted, as giving occasion for irreverent witticisms.[1]

[Footnote 1: This beautiful fresco, which is seldom seen, being behind
the altar, was in a very ruined condition when I saw it last in 1855.]

In contrast with this picture, and as a gorgeous specimen of the
Venetian style of treatment, we may turn to the "Marriage at Cana" in
the Louvre, originally painted to cover one side of the refectory of
the convent of _San Giorgio Maggiore_ at Venice, whence it was carried
off by the French in 1796. This immense picture is about thirty-six
feet in length, and about twenty feet in height, and contains more
than a hundred figures above life-size. In the centre Christ is
seated, and beside him the Virgin Mother. Both heads are merely
commonplace, and probably portraits, like those of the other
personages at the extremity of the table. On the left are seated the
bride and bridegroom. In the foreground a company of musicians are
performing a concert; behind the table is a balustrade, where are
seen numerous servants occupied in cutting up the viands and serving
dishes, with attendants and spectators. The chief action to be
represented, the astonishing miracle performed by him at whose command
"the fountain blushed into wine," is here quite a secondary matter;
and the value of the picture lies in its magnitude and variety as
a composition, and the portraits of the historical characters and
remarkable personages introduced,--Francis I., his queen Eleanora of
Austria, Charles V. and others. In the group of musicians in front we
recognize Titian and Tintoretto, old Bassano, and Paolo himself.

The Marriage at Cana, as a refectory subj