Matthias Ringmann’s ‘German Caesar’ is marked by a tension between a faithful translation of the Corpus Caesarianum and its nationalist appropriation. This tension is reflected on a medial level through the interplay of text, paratext, and image, with woodcuts playing a central role in the print’s overall design. Organized into an innovative cycle of ‘title-pages’ that combines argumentative and narrative modes of visualization found in Grüninger’s prints, the newly created woodcuts provide a framework for interpreting the text. Drawing on theoretical concepts of ‘intermedial translation’, this study demonstrates how the visual reconfiguration of spatial structures and semantics—particularly in the Bellum Gallicum—serves to emphasize specifically ‘German’ interests in Caesar and his wars, so that a translatio imperii accompanies the translatio loci. Consequently, the guidance of reception in Julius Keiser occurs less through interlingual translation than through intermedial means.