The Unusual Cats in Medieval Paintings: A Look at Symbolism, Artistic Styles, and Cultural Beliefs

Medieval paintings often feature cats in ways that might seem unusual or even bizarre to modern eyes. This raises the question: why do these paintings often depict cats in such an exaggerated and stylized manner?

Symbolism: Cats in Medieval Art

Animals in medieval art frequently carried symbolic meanings, and cats were no exception. These felines were often associated with femininity, mystery, and the supernatural. Their portrayal might reflect these symbolic associations rather than an accurate representation of the animal.

Artistic Styles: Stylization, Not Realism

The art of the medieval period, especially before the Renaissance, was characterized by stylization rather than realism. Artists focused on conveying religious themes and moral lessons rather than creating lifelike representations. As a result, animals, including cats, could be depicted in exaggerated or abstract forms.

Limited Observation and Copied Conventions

Artists often relied on secondhand descriptions or existing artistic conventions rather than direct observation. This could lead to distorted or fantastical representations of animals, including cats. Additionally, many artists might have lacked direct contact with cats or relied on inadequate teaching methods, leading to imprecise depictions. The limited observation and copying of traditional methods further contributed to the stylized nature of these depictions.

Cultural Beliefs and Superstitions

Cats had a complex place in medieval society. They were sometimes associated with witchcraft and superstition, which could influence how they were depicted in art. This might have resulted in cats being shown in ways that reflected cultural fears and beliefs rather than accurate representations.

Illustrated Manuscripts and Illustrators

Many of the cats depicted in medieval paintings were indeed illustrated in manuscripts. The illustrators were often monks who used cats from their abbey as references. These cats were kept for the practical reason of eradicating mice and rats, ensuring the survival of the abbey's dried food supply, which was essential during the winter months. Monastic illustrators, due to the repetitive nature of their work over years, developed a repertoire of stylized elements such as acanthus leaves, scrolls, and other plant-derived images, which they applied to their illustrations with high degrees of excellence.

However, the depictions of cats themselves were often stylized. In the first example, a cat is depicted as a hybrid being with both human and catlike features, although its eyes are styled as human eyes rather than cat-like eyes, which have pronounced vertical slit pupils. The tongue protruding is shown, a known cat feature, but would realistically mainly be seen when the cat is at rest. In the second illustration, the cat is in a posture ready to pounce, but the stylization of the body makes it appear as if there are no bones, which would support a leaping cat. The third example shows the cat as a regal figure, possibly a later style in manuscript illustration.

During the early and late periods of medieval manuscript creation, stylistic beings called gargoyles were used in roof architecture, often as waterspouts. Their elongated proportions might have influenced the illustrators-monks, leading to similar exaggerations in their work.

Conclusion and Comparison with Realism

We must consider that the stylized depictions of cats in medieval paintings were not a general failure to paint them properly. Artists like Albrecht Dürer were capable of detailed and realistic depictions. Hence, it seems more accurate to say that the stylization of cats in medieval art was a deliberate choice influenced by the symbolism, artistic conventions, and cultural beliefs of the time.

From the perspective of aesthetics, what is considered ugly or beautiful is subjective. However, these illustrations, whether seen as unusual or fantastical, provide a fascinating glimpse into the art and beliefs of medieval Europe.