Nazi Occupation of France (1940–1945), the 382-year-old painting was rolled up for storage, and continually transported to hiding places throughout the south of France, lest Veronese's painting about the Marriage at Cana become part of the Nazi plunder collected during the Second World War. In the early 21st century, on 11 September 2007, the 210th anniversary of the Napoleonic looting of the painting from Italy in 1797, a full-sized (6.77 m x 9.94 m) computer-generated (1,591 files), digital facsimile of The Wedding Feast at Cana was hung in the Palladian refectory of the Monastery of San Giorgio Maggiore, which the Giorgio Cini Foundation, Venice, and the Musée du Louvre, Paris, commissioned from Factum Arte, in Madrid. Restoration In 1989, the Louvre Museum began a painting restoration of The Wedding Feast at Cana, which provoked an art-world controversy like that caused by the 11-year Restoration of the Sistine Chapel frescoes (1989–1999). 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 demanded to be included in the matter, which demand the Louvre Museum denied. To the APIAH, especially controversial was the Museum's removal of a rouge marron red hue over-painting of the tabard coat of the house steward, who is standing (left-of-centre) in the foreground supervising the black, servant-boy handing a glass of the new, red wine to the bridegroom. The removal of the red hue revealed the original, green colour of the tabard. In opposing that aspect of the painting's restoration, the APIAH said that Veronese, himself, had changed the tabard's colour to rouge marron instead of the green colour of the initial version of the painting. In June 1992, three years into the restoration of the painting, The Wedding Feast at Cana twice suffered accidental damage. In the first accident, the canvas was spattered with rainwater that leaked into the museum through an air vent. In the second accident, which occurred two days later, the Louvre curators were raising the 1.5-ton-painting to a higher position upon the display-wall when a support-frame failed and collapsed. In falling to the museum floor, the metal framework that held and transported the painting punctured and tore the canvas; fortuitously, the five punctures and tears affected only the architectural and background areas of the painting, and not the faces of the wedding guests. Notes Louvre Visitor's Guide, English version (2004) Sources