Abstract
Abstract This paper reexamines the textual structure and the principles behind the illustrations of Thomasin’s von Zerklaere ›Der Welsche Gast‹. It argues that the book’s discontinuous, digressive, and seemingly unstructured mode of presentation results from an effort to reconfigure and recombine smaller didactic entities, or nuclei, that are shaped by the mediality of the text between literacy, semi-literacy, and orality, Thomasin’s didactic intentions, and the character of the text as a work-in-progress. By comparing the ›Welscher Gast‹ with other illustrated didactic poems, such as the late antique ›Psychomachia‹ and Hugo’s von Trimberg ›Der Renner‹, I provide evidence that the text and image cycle in the ›Welscher Gast‹ are merely a loose conceptual arrangement, and I challenge the widespread notion that both were created under Thomasin’s direction.
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