As a scene in the life of Christ, the Marriage at Cana, is of course introduced incidentally; but even here, such were the monastic principles and prejudices, that I find it difficult to point out any very early example.  In the “Manual of Greek Art,” published by Didron, the rules for the representation are thus laid down:—­“A table; around it Scribes and Pharisees; one holds up a cup of wine, and seems astonished.  In the midst, the bride and bridegroom are seated together.  The bridegroom is to have ’grey hair and a round beard (cheveux gris et barbe arrondie); both are to be crowned with flowers; behind them, a servitor.  Christ, the Virgin, and Joseph are to be on one side, and on the other are six jars:  the attendants are in the act of filling them with water from leathern buckets.”

The introduction of Joseph is quite peculiar to Greek art; and the more curious, that in the list of Greek subjects there is not one from his life, nor in which he is a conspicuous figure.  On the other hand, the astonished “ruler of the feast” (the Architriclino), so dramatic and so necessary to the comprehension of the scene, is scarcely ever omitted.  The apostles whom we may imagine to be present, are Peter, Andrew, James, and John.

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As a separate subject, the Marriage at Cana first became popular in the Venetian school, and thence extended to the Lombard and German schools of the same period—­that is, about the beginning of the sixteenth century.

The most beautiful representation I have ever seen is a fresco, by Luini, in the church of San Maurizio, at Milan.  It belongs to a convent of nuns; and 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.]