Allegory of the Triumphal Procession of the Prince of Orange, later King William II, as the Hero of Waterloo, 1815

The painting's legacy is anchored in its continued presence at the Rijksmuseum, where it remains part of the national collection and is regularly featured in exhibitions on Dutch Golden Age art. Its allegorical depiction of the Prince of Orange as a heroic figure has been cited in scholarly discussions of 19th-century Dutch patriotism and visual rhetoric surrounding military triumphs, influencing later interpretations of political iconography in Dutch art.

The work's reputation has been shaped by its inclusion in major retrospectives and its role in academic studies of Cuylenburgh's oeuvre, underscoring its significance as a historical document of the Napoleonic era.

Cornelis van Cuylenburgh’s 1815 oil painting, titled Allegory of the Triumphal Procession of the Prince of Orange, later King William II, as the Hero of Waterloo, is part of the Rijksmuseum’s collection. The work presents a bustling ceremonial procession rendered in a single, expansive canvas, combining figures, animals and architectural elements into a single, theatrical tableau.

At the composition’s heart stands a woman in a white drapery, sword raised, symbolising triumph. She is surrounded by floating cherubs bearing flowers and flags, while a rider in a red robe and helmet gallops on a white horse below. The surrounding crowd of soldiers, civilians and banners celebrates a victorious moment, likely referencing the 1815 Battle of Waterloo and the Prince’s role in it.

The painting reflects the post‑Napoleonic era’s fascination with heroic narratives and state propaganda. By portraying the Prince of Orange as a classical hero, van Cuylenburgh aligns contemporary Dutch political triumphs with the visual language of ancient allegory, reinforcing national pride during a period of renewed sovereignty after French occupation.