This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city. I argue that the painting memorialized a storied, yet defunct ritual and, in doing so, inscribed the values of community, civic charity and tolerance within Amsterdam’s cultural memory. Chapter 2 investigates Caspar Barlaeus’s Medicea hospes, a lavishly illustrated book produced to honor the 1638 visit to Amsterdam of Marie de’ Médici, Queen Regent of France. Intended for an elite European audience, the text featured a series of etched and engraved images depicting the Queen’s ritual procession through the city as well as the tableaux vivants and water spectacles staged in her honor. I suggest that Barlaeus and the Amsterdam city council capitalized on Marie’s ritual entry and its subsequent representation in the Medicea hospes as opportunities to ...