The final chapter explores first the religious underpinnings of the text and notes that the Iohannis rested on Christian assumptions even as it used the imagery and rhetoric of classical epic to recount an essentially secular narrative. The epic includes recognizable portraits of two African churchmen who were spokesmen in the ‘Three Chapters’ controversy. Far from ignoring contemporary religious problems, Corippus may have intended his poem to accentuate the support of the entire African populace for the imperial military programme. The chapter then turns to representations of ‘Moorish’ religious practices within the poem. While it is tempting to suppose that Corippus presents a timeless image of African religion, the Iohannis was very much a product of the mid-sixth century. The poet drew upon literary models, but the details of his account may betray contemporary practices. The Iohannis was composed at a time when the imperial authorities in Africa were consolidating the recent military victories with a programme of evangelism into the frontier regions, pre-desert and oasis communities. The chapter concludes with a discussion of this programme and of how this changes our understanding of Corippus’ text.