The third chapter is divided into two sections – Frechulf of Lisieux’s Histories and Ado of Vienne’s Chronicon. Both men composed ambitious works, in which Frankish history played an ancillary role. In Frechulf, the Franks make a fleeting appearance in the final chapters of his Histories, which cut off unexpectedly in the seventh century. The motivations for this choice seemingly have more to do with Frechulf’s overarching structure of Christian history than with any judgement of the Merovingians. Frechulf was reticent on the subject of the Franks, to which he devoted less space than to other early medieval gentes. This is surprising, considering that Frechulf chose to end his Histories with the displacement of Romans and Goths by Franks and Lombards, signifying that they were important elements of his authorial program. The second section of the chapter focuses on Ado of Vienne’s Chronicon, arguing that Ado highlighted the discordant aspects of Merovingian history in the period 511–638. By doing so, Ado a presented a pessimistic appraisal of the entirety of the dynasty’s tenure, not only its so-called rois fainéants.

This chapter is devoted to the pontificate of John VIII (872–882) and the significant physical threat to the city of Rome posed principally although not exclusively by Muslim marauders from North Africa, particularly in the aftermath of the death of Emperor Louis II in 875. Papal efforts to find new military champions were largely unsuccessful, although a significant victory was scored by the Byzantine imperial fleet at the mouth of the Tiber in 880. John VIII also constructed fortifications to defend the church and monastery of San Paolo fuori le mura, hoping to present a repeat of the sack of 846. Although the papal court is known to have been a hotbed of intellectual activity, little has survived from this era in the way of material culture except for the conversion of the temple of Portunus into the church of Santa Maria de Secundicerio by a senior lay official, Stephen secundicerius. Surviving fragments of its mural decorations reveal the influence of both apocryphal texts about the life of Mary as well as contemporary Byzantine hagiographic literature. This leads to a discussion of the place of origin of certain contemporaneous Byzantine manuscripts which share the same style as the murals, most notably the Paris Sacra Parallela (BnF gr. 923).