Through all the changes of dynasty its political constitution had remained unaltered; Amon still ruled there supreme as ever, and nothing was done until he had been formally consulted in accordance with ancient usage. Anputi, in spite of his being a son of Sheshonq, was compelled to adopt the title of high priest in order to rule in peace, and had married some daughter or niece of the last of the Painotmu. After his death, good care was taken to prevent the pontificate from passing to one of his children, as this would have re-established a Theban dynasty which might have soon proved hostile to that of Bubastis. To avoid this, Osorkon I. made over the office and fief to his own son Sheshonq. The latter, after a time, thought he was sufficiently powerful to follow the example of Painotmu and adopt the royal cartouches; but, with all his ambition, he too failed to secure the succession to the male line of his descendants, for Osorkon II. appointed his own son Namroti, already prince of Khninsu, to succeed him. The amalgamation of these two posts invested the person on whom they were conferred with almost regal power; Khninsu was, indeed, as we know, the natural rampart of Memphis and Lower Egypt against invasion from the south, and its possessor was in a position to control the fate of the empire almost as he pleased. Osorkon must have had weighty reasons for taking a step which placed him practically at the mercy of his son, and, indeed, events proved that but little reliance could be placed on the loyalty of the Thebans, and that energetic measures were imperative to keep them in the path of duty or lead them back to it. The decadence of the ancient capital had sadly increased since the downfall of the descendants of Hrihor. [Illustration: 248.jpg SMALL BRONZE SPHINX OF SIAMUN] Drawn by Faucher-Gudin, from the original now in the Louvre. The few public works which they had undertaken, and which Sheshonq I. encouraged to the best of his ability, had been suspended owing to want of money, and the craftsmen who had depended on them for support were suffering from poverty: the makers of small articles of a religious or funerary character, carvers of wood or stone, joiners, painters of mummy-cases, and workers in bronze, alone managed to eke out a bare livelihood, thanks to commissions still given to them by officials attached to the temples. Theban art, which in its best period had excelled in planning its works on a gigantic scale, now gladly devoted itself to the production of mere knick-knacks, in place of the colossal figures of earlier days. [Illustration: 249.jpg RUINS OF THE TEMPLE AT KHNINSU AFTER NAVILLE's EXCAVATIONS] Drawn by Boudier, from a photograph in Naville. The illustration shows what now remains of the portions of the temple rebuilt in the time of Ramses II.