The Best and Worst Cats in the History of Art; Proof of Secret Society?

I recently visited Paris, where I ate lots of Nutella and, even more importantly, saw what I believe to be both the best and worst cat representations in the History of Art. (Or, the History of Art That I Have Seen. But let's not quibble.)

Veronese's sumptuous Wedding at Cana at the Louvre (which puts up a great fight across the room from that smug attention hog Mona Lisa), one of my all-time favorite pictures, features such a realistic cat that I can't help but tag Veronese as a cat lover. That cat is playing with that urn just like a cat would!

Meanwhile over at the Musee D'Orsay, Henri Rousseau's Madame M. poses with that hideous freak in the lower right. Forget Madame M's enormous hands and displaced shoulders -- what about that freaky kitty? And yet, as with all things Rousseau, it is an appealing and unforgettable freak, and points for the ball of string. He was playing with his ball of string, then looked up and saw a STARTLING TERROR!

Both master cats are in the lower right hand corner of their paintings; coincidence? Both are playing, attempting to destroy the string and urn (of the world? Of the Vatican?). The Madame extends all but her middle finger toward the cat. The water that has just been turned into wine at the feast is near the cat. Are these kittyphilic signs intentionally coded into the paintings by the painters? Could Veronese and Rousseau have been members of a secret pan-generational Opus Felis organization? Quick, call Dan Brown!!