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In 1682, the highly regarded artist Theodoor Cornelisz van der Schuer (1634–1707) painted a canvas for the boardroom of the plague hospital in Leiden. He transformed well-known depictions of the plague to create an image of an unspecified hospital in a timeless setting. More than simply an image of a hospital, the painting is also an allegory of human dependence on God. Focusing on the plague-stricken figure of Charity, the allegory visualizes moral ideas that were disseminated in a 1526 tract on poor relief written by Juan Luis Vives. In the painting, the plague becomes a symbol of human deprivation, and by depicting Charity as a plague victim, van der Schuer projects the idea that humility is an essential part of charity. Since Vives was widely known throughout the seventeenth century, we may assume that his ideas were familiar to the hospital’s regents. And although van der Schuer disguises Charity as a plague victim, visitors to the boardroom probably recognized the personification nevertheless. Images of Charity were ubiquitous, especially in the context of hospitals, where they reflected the actions of the regents donating their time and dedicating their skills to the destitute. In reality, the hospital probably did not ever house plague victims; although the disease remained a constant threat, the institution served different kinds of patients. Combining a scene of the plague with a broad-reaching allegory, the painting proved relevant for decades to come.

Nothing Else Than Decay: Theodoor van der Schuer’s Allegory of Human Deprivation for Leiden’s Plague Hospital