The new eminence of Venice was exemplified by one of those scenes of living theatre at which Venice excelled. The characters in this lavish spectacle were the leaders of Latin Christendom. One was the emperor of Germany, Frederick Barbarossa, and the other was Pope Alexander III. Barbarossa laid claim to the Lombard states, and in particular to Milan; Pope Alexander strenuously resisted the claim, and allied himself with the Italian cities. The emperor was excommunicated. Nevertheless Barbarossa, spurned by the Church, had success with the sword. The Lombard cities were taken. Milan fell, and was largely destroyed. Yet the dominion of Germany over this part of Italy was constantly being threatened by internal rebellion and by the open hostility of other Italian cities that looked to the pope for leadership. The weariness of continual warfare, and the inevitable cycle of victories and defeats, eventually disheartened both sides. The pope and the emperor contemplated the principles of an agreement. But where should they meet formally to ratify their pact?
Venice had largely kept itself aloof from the hostilities, on the very good ground that it is better to remain neutral in any battle between such powerful enemies. Venice did not in any case concern itself with the affairs of Italy if its own interests were not directly touched. So the most serene city became the most appropriate setting for the reconciliation of Barbarossa and Alexander. On 23 March 1177, the pontiff landed at the Lido and was received at the monastery of Saint Nicholas; he was no doubt shown the so-called “relics” of the saint himself. On the following day he sailed into Venice, where he was received by the doge. There were now long and difficult negotiations over the terms of the peace, with the emissaries of both sides raising objections and proposing alterations. Yet the pact was finally sealed. On 23 July the emperor was welcomed to the monastery of Saint Nicholas. On the following day he sailed to Venice, where Alexander awaited him. The pope sat in state upon the papal throne, which had been placed before the central gates of the basilica; he was surrounded by his cardinals, like some crowd scene from the sacred plays of the period. The emperor, disembarking from the glittering barge of the doge, walked in stately procession towards the pontiff. Before him walked the doge himself. Saint Mark’s Square was filled with spectators, eager to see the play unfold. When the emperor reached the papal throne he took off his scarlet cloak and, bowing to the ground, kissed the feet of the pope. Alexander, now weeping, raised up the emperor and gave him the kiss of peace. The audience now began to sing the
This dramatic scene was also used by Venice as an advertisement for the city’s strength and sense of justice. It was the seat of a general reconciliation. The city was the place of impartial judgement and of equity because it was subject to God alone. It played no part in the power politics of popes or emperors, except to heal the wounds caused by them. That, at least, was the message of the Venetian chroniclers in reporting these events from the summer of 1177. For that moment, when the bells pealed, Venice was the centre of the world. There were more immediate benefits also. The emperor granted trade privileges to Venice throughout his empire, and the pope gave Venice ecclesiastical dominion over Dalmatia.
The spectacle itself might have acted as an overture for the grander opera that was about to be performed. In the years that followed, Venice entered another, and greater, phase of its imperial power. It conquered and stripped Constantinople. A new scenario began with another holy war. The pope had declared a fourth crusade against the infidels and, in the early months of 1201, the French princes who had taken the cross came to Venice to plead for the ships that would transport them to the Holy Land. They were received in great state by the doge, and were asked to plead their case before the people of Venice in the basilica. So, after mass had been heard, one of their number stepped forward and declared that “no nation is so powerful on the seas as you”; after that piece of flattery, he implored the aid of the Venetian people. The princes then knelt down and wept. Immediately there were cries all around the basilica. “We grant it! We grant it!” It was a fine piece of stage management, in the best traditions of the city.
