In literature and visual arts, the term 'Saracen' characterises all human beings not belonging to the corpus Christianorum. It describes total otherness and changing images of the enemy, even the enemy within one's own society, such as the heretic. Though Saracens are regarded as adversaries, their image remains ambivalent and oscillates between admiration and horror. A wide range of elements of prejudice can be combined to create differing clusters. In contrast to these changing 'images' of Saracens, the persistent use over a long time period of nearly the same stereotypes in the visual arts is astonishing. Within the framework of European art, painters were not interested in portraying Muslims before the fifteenthcentury. So, most pictures show different aspects of an imagined East. This article will discuss various versions of these distinct models of Saracens in late medieval image production in order to present the range of interpretations in the light of the context, patrons and recipients of visual representations.