The overarching purpose of the paper is to examine how 1Clement received, created and impacted the Rahab traditions in patristic texts. In 1Clement 12, Rahab is positively depicted both as a harlot (vv.1-6) and as a prophetess-like woman (vv.7-8). The former image is traditional while the latter one is innovative and first-hand in the Rezeptionsgeschichte. The twofold images of Rahab are investigated in a twofold outline of this paper. At first, the paper argues that "rabbinic exegetic tradition" (cf. Hanson 1978) could not explain Clement's creative treatment of the Rahab theme. Neither Heb. 11:31 nor James 2:25 expresses such an prophetess-like image. It is plausible that the Christological "prophecy" found in this woman (1Clem. 12:8) was inspired by a Christian intertextual reading of Josuha (Chapter 2 & 6) and Mt. 1:1-17. From 1Clement onwards, Rahab's scarlet began to symbolize "the blood of the Lord" and this innovative symbolization impacted the patristic reception (e.g. Justin, Dial. 111). Furthermore, the biblical Rahab tied tightly to the idea of "redemption" (1Clem. 12:8) and this redemptive sign evolved further in the Christian tradition (e.g. Cyprian, To Magnus 4). In the second part of the paper, it traces the development of Rahab as harlot. Unlike Mt. 1:5, Rahab is nowhere in 1Clement portrayed as a mother (and a wife). Instead Rahab as harlot was uncritically (but not passively) received in 1Clement. Indeed the canonical tradition was uncritical to Rahab as a prostitute (Jos. 2:1; 6:17, 25; Heb. 11:31; James 2:25). Even Mt. 1:5 is silenced at this point. Comparatively, in 1Clement, this harlot could be perceived with a positive note (cf. 1Clem. 55:3). This paved way to Origen's positive reception of Rahab as harlot in his homily (Jos. hom. 7:5). Only after the year 250 (or later) Rahab was depicted as a repentant woman.