It maintained its flourishing condition during the XIXth Dynasty, and the _favissa_ has restored to us works that yield in nothing to those of the preceding age. In my opinion the best is a mutilated statue of Ramses II, so like the big Turin statue in pose and execution that it might be the first rough draft of it, or the exact smaller copy. A few pieces of the XXth Dynasty are worthy of esteem without rising far above mediocrity, as in a little group in granite of Ramses VI bringing a Libyan prisoner to the god Amon: the bearing of the victorious Pharaoh does not lack pride, the constrained posture of the barbarian is skillfully noted, and the movement of the miniature lion that glides between the two is interpreted with the customary naturalness of the Egyptians when they portray animals.[51] I prefer the priest with the monkey, or, to give him his name, Ramses-Nakhouîti, the chief prophet of Amon. In a crouching posture, with calves and thighs flat on the ground, a roll spread out before him across his legs, bewigged and petticoated, uncomfortable in his robes of ceremony, with an air of abstraction he meditates, or silently recites prayers to himself. A little hairy cynocephalus perches on his shoulders, and looks at him over his head: it is the god Thot who is revealed in this unusual position, and it was difficult to co-ordinate the beast and the man in a manner that should be neither absurd nor simply ugly. The sculptor has come out with honour. The priest slightly bends his neck, but we feel that the beast does not weigh on him: the monkey on his part half shrinks behind the head-dress, and the deep frown of his face prevents the mischievous effect that the countenance of an animal above a human face might have produced. Like the group of Ramses VI, it bears the imprint of the school, but with notable differences of technique: if the first was sculptured in one of the royal studios, the second comes from another studio of which the origin can be indicated.