One of the striking differences between the very earliest Arthurian works and their fifteenth-century counterparts is the number and variety of characters that populate Arthur's court. Where eleventh-century depictions of the king portray him with a retinue of two or three knights, later descriptions of Camelot contain whole clans of knights, with a wide range of backgrounds and allegiances. Clearly, the introduction of new characters, as well as the interpolation, combination or integration of heroes and storylines from different traditions, is a key method by which Arthurian chronographies were created and expanded. Thus the Morte combines the Vulgate Cycle with the prose Tristan, adding decisive new storylines such as Gareth's expanded adventures. Meanwhile, Gonnot's BN.fr.112 interlaces a wide array of sources including the prose Lancelot and the prose Tristan, and the Buch combines Wolfram's Parzival and Albrecht's Der Juengere Titurel with a redaction of the French prose Lancelot, adding in several other German protagonists of both known and unknown provenance. In contrast, the Tavola is the fairly straightforward result of combining the prose Tristan as its main source with a heavily abridged redaction of the Mort Artu and elements from unknown sources, while the Dutch Lancelot compiler places Dutch-derived protagonists such as Moriaen alongside French-derived protagonists such as Lancelot and Walewein.