During the Renaissance, the status of cats was a bit of a contradiction. They transitioned from being viewed with suspicion (often linked to the occult in the Middle Ages) to becoming valued domestic companions and symbols in art.
Most cats were kept for a practical purpose: pest control. In a period of growing urban centers and maritime trade, protecting grain stores and ships from rodents was vital. Because of this utility, they were common in both humble homes and merchant warehouses.
Artists increasingly included cats in their works, though their meaning varied: Domesticity: In many portraits and domestic scenes, a cat curled up by a fire or sitting near a window signaled a cozy, well-ordered household. Symbolism: In religious paintings, cats often represented dualities. They could symbolize watchfulness or, conversely, deceit and lust (often placed near figures like Judas in depictions of the Last Supper). Anatomical Interest: Leonardo da Vinci was famously fascinated by them. He filled sketchbooks with studies of their movements, famously remarking, "The smallest feline is a masterpiece."
While superstitions persisted in some rural areas, the humanist movement encouraged a more observational and appreciative view of nature. By the late Renaissance, cats were increasingly seen as elegant, independent creatures worthy of being kept as pets for pleasure rather than just work.