The first was found in the Salt collection, purchased by Champollion at Leghorn in 1825, which forms the basis of the Louvre collection.[77] It is a young woman in a long clinging dress trimmed with a band of embroidery in white thread running from top to bottom. She wears a gold necklace of three rows and gold bracelets. On her head is a wig, the hair of which hangs down to the rise of the breast; the wig is kept in place by a large gilded band simulating a crown of leaves arranged points downwards. The right arm hangs down beside the body, and the hand held an object, probably in metal, which has disappeared; the left arm is folded across the chest, and the hand clasps the stem of a lotus, the bud pointing between the breasts. The body is supple and well-formed, the breast young, straight, slight, the face broad, and smiling with something of softness and vulgarity. The artist was unable to avoid heaviness in the arrangement of the coiffure, but he has modelled the body with an elegant and chaste delicacy; the dress follows the form without revealing it indiscreetly, and the gesture with which the young woman presses the flower against her is natural. The statuette is painted dark red, except the eyes and the embroidery, which are white, and the wig, which is black: the bracelets, the necklace, and the bandeau are of a yellow gold identical with the small book exhibited in the glass case marked Z in the “Salle civile.”[78] [Illustration: La Dame Naî Prêtre Officier en costume demi civil STATUETTES IN WOOD. The Louvre.] Two inscriptions engraved on the pedestal, and then painted yellow, inform us of the name of the woman, and of that of the individual who dedicated the statue. One on the front runs thus: (A) ADORATION TO PHTAH SOKAR-OSIRI,[79] GREAT GOD, PRINCE OF ETERNITY, TO WHOM ARE GIVEN ALL KINDS OF GOOD THINGS AND PURE THINGS, TO THE DOUBLE OF THE PERFECT LADY NAÎ OF THE TRUE PERFECT VOICE. The other is engraved on the right side, and runs: (B) IT IS HER BROTHER WHO MAKES HER NAME TO LIVE, THE SERVANT PHTAH-MAÎ. From other monuments we know more than one Egyptian of the name Phtah-Maî, and more than one lady Naî: but none of them has any claim to be identified with our two personages. Phtah-Maî is not a noble: he filled a very humble post, that of a page attached to a noble, or a subordinate employé of a temple or of a court of justice. But the charm of the monument he devoted to the memory of his sister is only the more remarkable.