Olympius had been his friend at the time when Karnis, on leaving college, instead of devoting himself to business and accounts, as his father wished, had thrown himself into the study of music, and at once distinguished himself as a singer, lute-player and leader of heathen choirs. Karnis was in Alexandria when the news reached him of his father’s death. Before quitting the city he married Herse, who was beneath him alike in birth and in fortune, and who accompanied him on his return to Tauromenium in Sicily, where he found himself the possessor of an inheritance of which the extent and importance greatly astonished him. At Alexandria he had been far better acquainted with the theatre than with the Museum or the school of the Serapeum; nay, as an amateur, he had often sung in the chorus there and acted as deputy for the regular leader. The theatre in his native town of Tauromenium had also been a famous one of old, but, at the time of his return, it had sunk to a very low ebb. Most of the inhabitants of the beautiful city nestling at the foot off Etna, had been converted to Christianity; among them the wealthy citizens at whose cost the plays had been performed and the chorus maintained. Small entertainments were still frequently given, but the singers and actors had fallen off, and in that fine and spacious theatre nothing was ever done at all worthy of its past glories. This Karnis deeply regretted, and with his wonted energy and vigor he soon managed to win the interest of those of his fellow-citizens who remained faithful to the old gods and had still some feeling for the music and poetry of the ancient Greeks, in his plans for their revival. His purpose was to make the theatre the centre of a reaction against the influence of the Christians, by vieing with the Church in its efforts to win back the renegade heathen and confirming the faithful in their adhesion. The Greeks of Tauromenium should be reminded from the stage-boards of the might of the old gods and the glories of their past. To this end it was needful to restore the ruined theatre, and Karnis, after advancing the greater part of the money required, was entrusted with the management. He devoted himself zealously to the task, and soon was so successful that the plays at Tauromenium, and the musical performances in its Odeum, attracted the citizens in crowds, and were talked of far and wide. Such success was of course only purchased at a heavy cost, and in spite of Herse’s warnings, Karnis would never hesitate when the object in view was the preservation or advancement of his great work.