This paper demonstrates that in the years 1650 to 1670 the tomb of William I. and its representation within the Dutch church interior of the 17th century evolved into a widespread motif in pictures. The political background during the building activities of Hendrick and Pieter de Keyser was formed by the armistice, which was agreed upon in 1609 and which lasted twelve years. The period marked by the lack of a governor from 1650 to 1672, which was caused by the misdeeds of William II., formed the political as well as the historical frame in which the painters Houckgeest, van Vliet and de Witte represented the tomb of Orange in their pictures. The prince is praised with the help of the numerous allegories, which adorn the tomb. Beneath the obelisks, the four virtues “Libertas”, “Justitia”, “Religio” and “Fortitudo” are personified and sculpturally modelled in the form of female figures. They are meant to honour the merits of the deceased. When thoroughly examining a catalogue of 25 paintings, pictorial manipulations with regard to the allegories as well as to the female figures are becoming obvious, which are described and explained in the paper. The Peace of Westphalia finally set the seal on the independency of the Netherlands. The fact that from this year onwards the production of paintings of the mentioned subject increased highlights the respect the citizens felt for William I. Besides the “Father of the Fatherland”, further 46 members of the family of Orange found their final resting place in the Nieuwe Kerk in Delft. This way the Nieuwe Kerk became the sepulchre of the Dutch royal family.