Self-representation of political power and the patronage of the arts have been a pinnacle of personal rule during the Renaissance era. The court of Margarethe of Austria (1480–1530), which she established in Mechelen as the governor of the Habsburg-Burgundian domain, is no exception to this. She presented herself in public as a widow and combined the shrewdness of her political actions with a very palpable Marian devotion to legitimize her rule. Together with her succession in this specific territory, Margarethe also inherited one of the most famous and renowned chapels in whole Europe – the Burgundian Grande Chappelle – and with it a considerable number of proficient composers, out of which Pierre de la Rue was the most productive. The investigation of this connection in between politics and music at court seems to be a missing link both in (music) history as well as in the field of institutional history in particular. In my presentation, I want to highlight these ramifications in between political (self)representation and musical composition as a support of the political claim through music. I intend to discuss different methods to approach this task, study of archive materials, codicological research and the liturgical context will be very important points to gain further knowledge on the emphasised subject. Apart from the service, music also serves as a major aspect for illustrating the worldly matters of representation at the court. Furthermore, I want to raise the question how the politic agenda is reflected in the music itself and if it is possible to prove this interdependency even in the compositions themselves. Thirteen out of the thirty-two masses of La Rue display a conjunction to Mary or Marian topoi, he was the first composer to write the whole Magnificat cycle in all eight toni and he wrote six Regina coeli motets which contain a third of all his motet compositions. Thus, the quality and sheer quantity of these works make a connection in between composer and the political imagination of Marian devotion of the court plausible. I intend to take the cycle of the Magnificat as an example of this link in between the special Marian devotion of Margarethe and La Rue’s compositional prowess.