He was active during the second half of the 16th century in Heraklion, Sicily, Venice, and different parts of Italy.

The painting is very important because it is one of the few instances where Damaskinos broke from the traditional maniera greca prevalent in most of his works.

In this instance, he strictly followed the lines of Venetian painting exhibiting his superior craftsmanship as a painter capable of changing his style.

Italian Renaissance painter Paolo Veronese who was based in Venice painted his version of The Wedding at Cana.

The massive wedding banquet poses many similarities to Tintoretto's work but features many differences.

Compared to the Tintoretto the Damaskinos version lacks a massive chandelier in the center of the room.

The instruments and lavish opulent clothing allow viewers the impression of the fashion trends of that era.

In the rear of the room garnishing the wall in Tintoretto's version are elaborately decorated Ionic Columns reminiscent of ancient Greek architecture.

The assortment of food, silverware, and wine jugs is common to Damaskinos's Last Supper and the current Wedding at Cana.