I agree with you that the Gedechtnus projects were for multiple purposes.
Generally founders and expanders of empires and dynasties care about self-representation and propaganda, that is normal. But Maximilian's projects do have extraordinary points.
*The fictionalized semi-autobiographies:
Maximilian once wrote a Latin biography (imitating Caesar, one of his heroes), but he stopped in the middle and then wrote the Theuerdank, Weisskunig and Freydal. Why? Generally, prose and realistic (even if faked) settings work better for enhancing a military leader's glory and send stronger messages. I think that was about the complicated relationship he had with the Burgundian Netherlands. Our historian-emperor wanted to defend his father as a righteous ruler, but also did not want to represent Frederick's archenemy, who happened to be his own father-in-law (and whose tastes were closer to his), as a simple villain. The years Maximilian spent in the Low Countries were not without great tragedies and bitterness, but now that "we are One and the Same", he could not portray the "traitors" he had pardoned as wholly despicable, in a serious way. But he also needed to assert that he came to the Low Countries with chivalric intentions and he was the victor (because on the French side and also partly on the Burgundian side, there was the propaganda that he was anything but a hero). This was both justification for the establishment of his dynasty in the Low Countries, and justice for himself. How dared anyone portray him as a villain, after all he had done?
There was certainly a personal, sentimental aspect, beyond the sense of vanity. He surprised many, including his father, about his obsession with the Burgundian legacy. I think that Maximilian had invested himself so much into the Burgundian project, that it became a core part of his identity: it was both his spiritual child and what made Maximilian become himself. His representation of his relationship with Mary of Burgundy and their children also displayed this ideological aspect - she was the Mother, in many ways. Olivier de la Marche said that when Maximilian came to Burgundy, he was an idealist, but when he left, the idealist was dead. And in his projects, the Burgundian element was often paired with the Austrian one (both were dominant in comparison with Hungarian or Italian elements) - remember, that he also legitimately carried the title King of Hungary and was also conducting an expansion scheme there. Apparently, the prospect of Philip inheriting the Spanish throne(s) created the (justified) concern that the Spanish element might become dominant in later generations - he once wrote to his son telling him not to let Juana breastfeed their unborn male heir, lest the boy might become too Spanish. Meanwhile, he had no problems letting the Burgundian side raise Philip, Margaret (after she came back to her father) and Philip's children.
In Augsburg there exists a large house with a plaque that states it was built by Maximilian for his frequent visits to the city. He'd borrow money from the Fugger Bank, which is still in existence today.
In this interview, historian Manfred Hollegger claims it took ten years for the debt to be paid off "to a reasonable extent".
"How did he finance all these measures?
Mainly through loans from trading and banking houses in Augsburg, particularly those owned by the Fugger family. The result was a mountain of debt that was only paid off to a reasonable extent ten years after his death."
Really interesting article, nicely done!
I agree with you that the Gedechtnus projects were for multiple purposes.
Generally founders and expanders of empires and dynasties care about self-representation and propaganda, that is normal. But Maximilian's projects do have extraordinary points.
*The fictionalized semi-autobiographies:
Maximilian once wrote a Latin biography (imitating Caesar, one of his heroes), but he stopped in the middle and then wrote the Theuerdank, Weisskunig and Freydal. Why? Generally, prose and realistic (even if faked) settings work better for enhancing a military leader's glory and send stronger messages. I think that was about the complicated relationship he had with the Burgundian Netherlands. Our historian-emperor wanted to defend his father as a righteous ruler, but also did not want to represent Frederick's archenemy, who happened to be his own father-in-law (and whose tastes were closer to his), as a simple villain. The years Maximilian spent in the Low Countries were not without great tragedies and bitterness, but now that "we are One and the Same", he could not portray the "traitors" he had pardoned as wholly despicable, in a serious way. But he also needed to assert that he came to the Low Countries with chivalric intentions and he was the victor (because on the French side and also partly on the Burgundian side, there was the propaganda that he was anything but a hero). This was both justification for the establishment of his dynasty in the Low Countries, and justice for himself. How dared anyone portray him as a villain, after all he had done?
There was certainly a personal, sentimental aspect, beyond the sense of vanity. He surprised many, including his father, about his obsession with the Burgundian legacy. I think that Maximilian had invested himself so much into the Burgundian project, that it became a core part of his identity: it was both his spiritual child and what made Maximilian become himself. His representation of his relationship with Mary of Burgundy and their children also displayed this ideological aspect - she was the Mother, in many ways. Olivier de la Marche said that when Maximilian came to Burgundy, he was an idealist, but when he left, the idealist was dead. And in his projects, the Burgundian element was often paired with the Austrian one (both were dominant in comparison with Hungarian or Italian elements) - remember, that he also legitimately carried the title King of Hungary and was also conducting an expansion scheme there. Apparently, the prospect of Philip inheriting the Spanish throne(s) created the (justified) concern that the Spanish element might become dominant in later generations - he once wrote to his son telling him not to let Juana breastfeed their unborn male heir, lest the boy might become too Spanish. Meanwhile, he had no problems letting the Burgundian side raise Philip, Margaret (after she came back to her father) and Philip's children.
In Augsburg there exists a large house with a plaque that states it was built by Maximilian for his frequent visits to the city. He'd borrow money from the Fugger Bank, which is still in existence today.
Fantastic article! Just curious, how long after his death did it take the family to pay off his debts?
In this interview, historian Manfred Hollegger claims it took ten years for the debt to be paid off "to a reasonable extent".
"How did he finance all these measures?
Mainly through loans from trading and banking houses in Augsburg, particularly those owned by the Fugger family. The result was a mountain of debt that was only paid off to a reasonable extent ten years after his death."
https://www.oeaw.ac.at/detail/news/maximilian-believed-in-progress