It's an unsettling experience to be wandering around the island of San Giorgio Maggiore and to suddenly see, through a large doorway, a work of art you know to have been removed from the place over two centuries ago. It's a bit like seeing ghost, but there's nothing spectral or wavering or diminished about this phantasm. No, it's vivid and large as life--though not the thing itself.
For those who--like me before this lucky afternoon--haven't see the reproduction of Veronese's Marriage Feast of Cana in the setting of the the San Giorgio Maggiore refectory for which it was originally created, the following link provides an interesting account of the painting's history, its theft by Napoleon, and its virtual return in this detailed full-scale reproduction by Adam Lowe's Factum Arte: http://old.cini.it/uploads/box/2a493868a94e80a8774dc93cb2206264.pdf
For those who--also like me--didn't have the chance to see the multimedia work that director Peter Greenaway created around and quite literally on this facsimile during the 2009 Venice Biennale, there is now an almost 4 minute clip of it here: http://www.factum-arte.com/pag/102/Peter-Greenaway-on--br--Veronese-apos-s-Wedding-at-Cana. With the use of digital projections and music Greenaway makes Veronese's famous painting his own (as, in a much older analog media, Tiepolo also made Veronese his own), and in doing so, enables us to see the painting in entirely new ways. It looks to have been a marvelous fantasia, which one can only hope might some day be staged again.