Islam's Christian Collaborators

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Barack Obama, Islam’s crouching eunuch, serves a special function in the new Mideast, that of towel-bearer for jihadist dictators at their bloodbaths. After rubbing down their leprous bodies with the billion-dollar ointment of “humanitarian aid,” Obama dries them off with the soft cloth of impunity.

The dragging of US Ambassador Christopher Stevens’s body through Benghazi’s streets was just such a bloodbath.

Obama had drawn water for it in his 2009 speech in Cairo. He then poured in the powders by giving Egypt’s government $1.6 billion a year.

The flying of al-Qaeda’s flag over our Egyptian embassy on 9/11/2012, the assault on our embassy in Yemen, and the butchering of ambassador Stevens all have Obama as a proximate cause.

There is also a remote cause behind our government’s policy of appeasement toward international Islamo-fascism.

Try a small band of neurotic social rejects establishing a creepy man-made “religion” at Jamestown in 1607. The Puritans had many things in common with Muhammad, the seventh century’s Martin Luther. We are now experiencing one of the most dramatic effects of the society they created: American accommodation of sharia law.

“Today, globalist immigration policies accomplish what used to be achieved through the scimitar: the Islamic occupation of Europe.”
While Islam’s idol is created (as opposed to uncreated), the same can be said of the “internal” god of our predominantly Unitarian populace—use whatever names you please for America’s thousands of religious sects.

If Islam has perverted marriage, so has Protestant America. If Islam is iconoclastic, so are America’s television-watching Baptists with their Lutheran abhorrence of Christian art.

Just as Islam reduces women to objects of pleasure whose bodies are considered dispensable communal property, the same can be said of Sandra Fluke and her squalid followers. Feminism not only wages war on women, it denatures womanhood.

In her 2007 book The Jamestown Project, New York University history professor Karen Kupperman claims that Elizabeth I removed the metal from the roofs of Catholic buildings to provide Sultan Murad III with munitions for his Islamic campaign against Rome and the Holy League. From the despots’ mutually respectful correspondence we learn of the Sultan’s approval of the killer queen’s novel sect.

Doctrinal accommodation and military collaboration with Islam occurred in Protestant communities from the Reformation’s outset. Today, globalist immigration policies accomplish what used to be achieved through the scimitar: the Islamic occupation of Europe.

If our embassies are now aflame in Obama’s new Mideast, it is only because Islam is a pure reflection of what the West has become after 500 years of apostasy. Our relationship with Islam is now a race to the bottom.

In 2008, Archbishop of Canterbury Rowan Williams called for the introduction of sharia law in the United Kingdom. Pope Benedict XVI has made Muslim outreach a major theme of Vatican II’s ever-evolving religion, whose catechism (section 841) now teaches that Muslims worship the same god as Christians do—interesting news to both groups.


Meanwhile, a forgotten incident in art history directly bears upon embassies, apostasy, and accommodation to Islam.

The year was 1750.

Giovanni Battista Tiepolo (1696-1770) was the greatest painter of the Venetian school. In 1749, at the height of his international renown, he was commissioned to produce the altarpiece for the chapel at the Spanish embassy in London.

Presented in the summer of 1750, Tieopolo’s St. James the Greater at the Battle of Clavijo portrays Spain’s patron in his role of Matamoros, the Moor-slayer. At Clavijo on May 23, 844 AD, the Christians were reputedly outnumbered by their Islamic foes.

As the story goes, St. James miraculously appeared on the battlefield, routing the Moors and saving Western Europe from slavery 800 years after the apostle’s martyrdom by the sword in Jerusalem under Herod Agrippa.

Tiepolo has the ruddy figure of St. James astride a beautiful white horse. The martyr’s serene and resolute gaze looks upward to signify that his force is derived not from arms, but from heaven.

In his right hand he bears a sword, the instrument of his own martyrdom. It serves as a mysterious channel of grace reaching downward to the defeated Moor, whose shoulder it lightly touches as if lifting him from the ground. The Moor’s attitude is that of the convert resigned to a higher love, a kneeling postulant for baptism to whom life is given, not removed.

It was by conversion, not war, that Spain became Christian, though she may have defended herself through might whenever necessary.

In the background of Tiepolo’s generous canvas, death is dealt to those attacking the children of God. In the foreground, the scimitar and Islamic flag lie upon the dusty ground, contrasting with the victorious banner of the Virgin Mary’s colors held high in the saint’s left hand.

We can only speculate as to why so marvelous a work was rejected by its own commissioners. (It now hangs proudly in Budapest’s superlatively gorgeous Szépmüvészeti Múzeum.)

In 1750, Anglican visitors to London’s Spanish Embassy would likely have sympathized less with Catholicism than they would have with Islam.

In receiving news of the rejection, Tiepolo must have been surprised to learn that Anglo-Saxon civilization had finally extinguished itself…

…the fate of all societies whose art is powerless to vanquish hell because it no longer looks to heaven.

Nations are only as good as their art, their art only as good as their faith, and their faith only as good as the object of their faith.



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