In this full-cut Visio Divina conversation, Magrey deVega and Dr. Rose Trentinella explore Tintoretto’s depiction of the Wedding at Cana. Originally created for a monastery dining hall, the artwork was meant to surround viewers as they shared their own meals. Even more compelling, art historians believe Tintoretto may have painted himself into the scene—not looking out at us, but participating in the feast. What does it mean for an artist to place himself inside the miracle? And what might it mean for us, as we practice a slower, more attentive way of seeing? This conversation invites us to consider what we notice and where we find ourselves within the story.

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