Christian art fused Jews and Muslims into one eternal-enemy figure.

Evidence

The Jewish Sarrazin is an early example of the charge of Jews and Muslims as Christianity’s eternal enemies, even more significant because these representations become stock characters in Renaissance paintings of the Crucifixion and the execution of Christian saints. The linkage of Jews and Muslims/Saracens was so common that it was “difficult to name the one group without conjuring up the other.” We find Jewish and Muslim figures side by side in these scenes, whipping Christ, stoking the fires of an executioner, and observing these scenes with perverse expressions of enjoyment. — Sophia Rose Arjana, Muslims in the Western Imagination, 171

Categorization

• XREF: Connects to the reader’s broader thesis that the Muslim monster is a manufactured Western container; this shows the medieval imaginaire merging anti-Semitism and anti-Saracenism into a single projection.
• ADDENDUM: Parallel to the moral-panic essay: a fused, composite enemy figure (Jew-Muslim) functioning like a scapegoat category across visual and narrative media.