CHAMBER A

This forms a common group with chamber B, dedicated to the welcome of the deceased, to the libations and to the perpetuation of the funeral rituals performed on earth. It is also a question of evoking here the numerous relatives of Nakhtamon and his wife: parents of the couple are honoured in the same way as those of the younger generations: sons, daughters, nephews and nieces, whilst the brothers and sisters of the deceased come to visit them "out of courtesy" and to welcome them. There is no doubt that some of their mummies also rested with them in this tomb.

The room is almost rectangular (3.65m in length, north-south, and 2.16 to 2.78m in width, east-west) but the ceiling height is low, according to current criteria, at 1.70m. It is necessary to remember that the majority of Egyptians of that time measured a good ten centimetres less than today.
This kind of hallway, which preceded the actual lower vault, was common at Deir el-Medineh, but it is exceptional if it was decorated, which is actually the case here. The rocky walls had been levelled, but, contrary to the norm, they were not lined with mud bricks. The paintings had been applied on a white distemper which stops in a rather irregular way at the junction between walls and the roughly hewn ceiling (see ).
The east wall is pierced by the entry doorway, the wall to the right (north) by the opening leading, by a small step, to chamber B. From the west side, a staircase opens up in the floor, in the axis of that of the entrance, leading down to chamber C, through an vaulted tunnel, although, looking from the floor of chamber A, the entry has a horizontal ceiling.

The east wall

At its centre is the entry opening (see ). On each side are placed scenes of offerings to the seated deceased couple, facing the entrance, from where the servants come.

1) - The right side (south)

This is occupied by two registers of very unequal height, the smaller one being along the top, above a scene containing many people. Under the bottom register, is a narrow black band which separates it from the floor.
At the south end of the wall, where it meets the south wall, can be seen a small niche, described later with the south wall, at the end of this page.

The lower register

Towards the right are represented the deceased Nakhtamon and his wife, "the mistress of the house, Nebuemsheset". They are shown in a very traditional style, although not in their usual dark and pale skin colours. They are seated on two chairs, side by side, the legs of which end in lion paws resting on small supporting cylindrical pillars. The artist created detail on the chairs, showing the cane-work as well as of mortise and tenon joints (see ). The feet of the deceased couple and their chairs rest on a reed mat.
Nebuemsheset embraces her husband with both arms.
The picture of the couple is very beautiful (see ), showing a great amount of detail. The image of this young woman, clearly shows her long curly tripartite wig with twisted braids of hair extending much further than the main part. The wig is fastened at the top by a band from which projects, at the front, a lotus flower button. Her earring is positioned cleverly, and, whilst drawing the corner of her lips, the artist gave her a flicker of a smile, exceptional in Egyptian tomb paintings. This was the work of a true master artist. In contrast, the head of Nakhtamon seems almost awkward, too large, whereas the proportions are identical. Each of them wears on the top of their head the "cone of ointment", whose physical reality is questionable: it is rather a metaphor for fragrances and/or fat (certainly scented) used as hair gel (see ). The couple both wear ample garments. Nakhtamon wears a broad necklace and bracelets, whilst Nebuemsheset, who can be seen to wear a broader necklace, retains no evidence to indicate what adornments she wore on her arms. His right hand is folded on his chest, tightly holding the stem of a lotus blossom in full bloom, with the open corolla held up in front of his nostrils, a promise of rebirth. His left hand, is placed on his thigh, holding a folded piece of linen. His wife has her right hand on his right shoulder, her left (no longer visible) was probably holding on to his left upper arm.

In front of the couple, the ritual offerings are brought by the two eldest daughters, "Webkhet" and "Henutiamu", as well as by the teenage son, "Ankhau". The young ladies wear long wigs, on top of which again are placed the ointment cones, with a head-band from the front of which appears, for the first, an open lotus flower, for the second, a flower in button.

Ubkhet, the first of the girls, holds a vase with both hands. This, which has a floral decoration, she holds in front of the faces of her parents. These vases, covered with a delicate painting, are almost specific to Deir el-Medineh. Clearly this is not about a vessel for the daily use, but intended for the funeral cult ( exists in the Louvre museum). These vases would have been produced by the workers themselves on the occasion of the Beautiful Festival of the Valley, a festival of rebirth, to which the workers were very attached.

The vase which Ubkhet holds is of this type: with a base formed by an open flowers rise stems, evoking germinating seedlings, which seem to be enclosed by a ribbon at their summit. This resembles the hieroglyphic sign (Gardiner M37). The artist had cleverly combined the symbolism of the vase with that of the lotus flower held by Nakhtamon, whose curved stem seems to combine with this floral vessel.

Henutiamu, the second girl, raises her right hand in a sign of greeting, whilst hanging from her left hand is a vase with a long neck, probably intended for the libations.

The young boy, Ankhau, also raises a hand, whilst in the other it is very difficult to identify the object he holds. It seems to be a bag, which contains round grains (see ).

Next to (behind) the seated couple stand two more of their children, very young, who also participate in the ritual.
The boy, identified as "his son, Penkhnum", holds a lotus stem surrounded with bindweeds (a page has been devoted to ). In the other hand he offers a basket containing three breads.
Behind him stands his sister, "Nedjemet", who wears the side plait of childhood, also holds in one hand a lotus, and in the other she holds a vase which is very similar to the one of Henutiamu.

The upper register

This is separated from the scene below by a yellow line edged with two narrower red lines, creating the lower boundary for the narrow top register. This displays the presented offerings (see ). From left to right, this contains: two baskets placed on small pedestals, containing bread and fruit. Next is a jar, resting on a stand, surrounded with a stem of lotus in bud, followed by a vase of seeds in germination, a symbol of the renewal of life, corresponding well to the M37 hieroglyph already seen, demonstrating once again that the boundaries between the writing and painting are blurred. Then, resting on plants, laying horizontal, are breads, a cluster of grapes, a vegetable (cucumber ?) and various cuts of meat, of which one is a haunch.

2) - The left side (north)

The decoration of this side of the east wall, distributed in two superimposed registers of a similar size, forms a group with those of the right-hand side of the north wall and that of the adjoining wall of the doorway leading into chamber B (see ) which the draftsman wanted to indicate with some overlapping details (eg. the bottom of the dress of the first of the two seated girls (see ).
All of these three walls are limited at the top by a band of horizontal text and below by a thick black line above of a white space, which reaches to the floor.

It should be noted that the scenes are situated higher above the floor level on the south side of the entry wall. It should also be noted that at the very top of the wall, and beginning slightly above the adjoining wall, is a what remains of a line of text, which begins: "The seen and revered one by Amon…".

The lower register

The seated couple consist of the lady Sahti, sister of Nebuemsheset and therefore the sister-in-law of Nakhtamon (she should not be confused with the other Sahti, biologic sister of Nakhtamon) and of her husband "the servant in the place of truth, Khabekhnet" the possessor of tomb TT2. They sit on individual chairs. He wears a short square beard. Standing in front of them, are two of their sons (therefore the nephews of Nakhtamon), Mes and Amenemhab, paying homage to their parents. Mes presents a large bouquet, raised to the nose of his father, it is a reminder of the bouquets of Amon, and is a reminder of the festive setting. Khabekhnet and his wife are represented in the same way as the couple on the other side of the entry to chamber B. Here the artist knew well how to take advantage of the bouquet, so that the lotus flower held by Khabekhnet, to his nose, seems to be included with those in the bouquet. Amenemhab, standing behind his brother, brings a basket containing three breads sprinkled of sesame (the small black grains). Whilst, as with his brother, he raises his left hand to greet his parents, although Mes may have been supporting the bouquet. Only the seated couple have their feet placed on a reed mat, insulating them from impurities. The feet of the first son are concealed by the mat, but those of the other can be seen.

The upper register

Separated from the lower register by a double golden line, treated as a reed mat by being bound, it appears to have been a copy of it, although the whole right part - where were originally held two characters, very probably the sons of Nakhtamon - are nearly totally lost, so their identity is unknown. This time the feet of the person making the offering pass in front of the reed mat which supports the seated couple. Also, only one chair can be seen for the seated couple and their feet are shown side by side. This indicates that they are seated side by side on a broad chair. This second couple can be identified as the sister of Nakhtamon, Henutmehyt, and her husband, the sculptor Qen, whose tomb TT4 is close to this one.

The north wall

This is divided into two parts, east and west, by the passageway leading into chamber B.

1) - The right side (east)

(see and )

This constitutes, as already stated, an extension of the previous scene, which is on the left side of the entry wall.
Behind the two registers just described (and, according to Egyptian conventions, it is necessary to understand that they were close by) are a third couple. This time they occupy the whole wall. This pre-eminent position is understandable, because it represents "his brother, the sculptor, Ipuy" (TT217), the biologic brother of Nakhtamon and "his sister (wife), the mistress of the house, Duaemmeres". So this man is not only close to Nakhtamon but, like him, of the same generation. The man has a beautifully proportioned head, with a short beard and a headband out of which hangs a flower bud, whilst he holds a lotus blossom in front of his nose. His wife wears an immense wig whose lowest ringlets reach down below the elbow. In front of them, on a support, is a characteristic candle of the Festival of the New Year: conical and trimmed with ribbons with a wick which burns.

2) - Extension of the north wall (east side)

(see )

The scene just described is further extended on the right-hand side wall of the passage leading to the chamber B, the imagery of which can been opposite. The left side wall of this passage, being much narrower, due to the rotated axis in comparison with chamber A, contains no imagery, only a narrow vertical band of hieroglyphs. The extension scene in the passage contains the image of another biologic brother of Nakhtamon, this is "Neferrenpet". His is accompanied (positioned behind him) by his wife, identified as "his sister, the mistress of the house, Huyneferet" (see ) have come as neighbours, because they possessed the adjoining tomb, TT336. The man, with the shaven head of a priest, wears over his standard broad usekh-necklace a thin chain from which hangs the "Eye of Horus". He is clothed in a pleated kilt with an extending front, this is over a longer pleated garment, both extending above his hips at the back. He has both of his arms raised in a sign of welcome. His wife wears a long black wig, held in place by a band, at the front of which is an open lotus blossom. On top of wig is the usual cone of ointment. She is dressed in a long pleated dress and also wears a broad necklace. Her right hand is raised in welcome, whilst in her lowered left she holds a small vase with a long neck closed by a plug.

3) - The left side of the north wall (west)

It is necessary to consider the scene portrayed here as also belonging to the group which began on the north section of the east wall. A small step of 20cm in height occupies the whole length of the bottom of the wall (as can be seen in a photo of the north-west corner (see ).
The image seems to have been based on the one of the lower register, to the left of the entry. The couple, facing in the same direction as all the previous couples, consists of "the scribe Minmos (ef) " and "his wife, Isis". This woman was the daughter of the couple named Pached and Mekhayt (TT292), therefore the sister of Nebuemsheset, the sister-in-law of Nakhtamon, and Minmes (ef) is his sister-in-law by marriage.
The festivities are joined by a son of the couple, "the scribe Amenemipet", who presents to his parents a bouquet like the one held in a previous scene. His father wears a heart amulet at the end of a chain, protruding under his broad usekh-necklace. Once again, the artist chose to integrate the bouquet and the lotus flower held by the deceased. This time, the feet of the son are also on the reed mat, which acts as a footrest for the couple.
Easily seen on the photo of the north-west corner, even though the direction of the writing and the facing of the people changes (indicated by an arrow), that the adjacent scene on the west wall is still part of the festive group nevertheless.

The west wall

In the floor, directly opposite the main entrance stairway, begins another one which descends towards chamber C (see ), the entrance doorway is slightly off-centre in this west wall. The decoration of the wall is divided into three zones. On the right (north) is a scene of homage by the deceased's wife, Nebuemsheset, to her parents. On the left (south) is the end of the ritual of the opening of the mouth which begins on the south wall. At the centre, with the descending entrance to chamber C, the overhanging wall is very damaged. Two pedestals, at the base of the two sides, symmetrically frame the opening, however, only the one of the left (south) has survived.

1) - The scene on the right (north)

This new scene of offering, of which a large part is lost, is part of the group which began on the east wall. This time it is Nebuemsheset, the wife of Nakhtamon, whose face is mutilated, who pays homage to her parents. These are "the Osiris, Pached" and "his sister (wife) , the mistress of the house, Makha[ib]". She presents them with a vase, unlike the ones already seen. This one has at the base two udjat-eyes separated by a nefer hieroglyph, the sign for beautiful (see and ). Two individual chairs can be seen: the black one, imitating precious ebony, is the one of the master, whilst that of his wife is portrayed in the same colour as the previous chairs. Under the one of the wife is a small mirror is attached to a cosmetic pot. This is a Hathoric symbol, the mirror making reference to sexuality: Makhaib must be beautiful to arouse the love of her spouse, who will be born again of his own work (see ). Note that this time the man holds his nose to a closed lotus button. He wears around his neck a heart amulet suspended from a thin chain.
Above the scene, a short band of text runs from right to left: "Made by the Osiris, who hears the words in the place of truth, Nakhtamon, justified […]".

Note: The term "justified" (fully translated as "just of voice"), found after the name of a deceased person, refers to the result of the weighting of his/her heart on the scales of justice, where the deceased was judged as being truthful, and worthy of entering the afterlife.

2) - The central scene

This section of the wall is very damaged, but it probably contained a symmetrical scene (see ). The artist took advantage of the pedestals, using them as bases for two gods portrayed on the the wall, both turned towards the decent to chamber C. The left god is still partially preserved, dressed in tight fitting kilt and a divine corselet (see ). Of the other, on the right, all that remains are his feet (see ). The two gods are almost certainly Thoth and Horus, who pour a libation on to the deceased, who had to be squatting. They frame a composition which has almost disappeared, which rested on a basket (the hieroglyphic sign Gardiner W3), which was probably the lower part the hieroglyphic for "festival" (Gardiner W4). The basket was held by the raised hands of the god Heh, who wears on his head the hieroglyphic sign (Gardiner M4) meaning "year" (see ). Usually Heh is pictured squatting on the basket, holding in each hand a palm branch, serving to calculate the years. He thus symbolises the deceased's wish to benefit from millions of years in the afterlife.

3) - The scene on the left (south)

This should be interpreted in conjunction with the scene of the ritual of the Opening of the Mouth, which is on the south wall, to which it belongs entirely. This can be seen by the continuation of the edge of the sand, at the bottom of the hill on the west wall, which slightly overlaps on to the south wall (see ).
Two upright coffins (with or without mummies, it is not known with certainty) are located in front of the entry of the pyramidal funerary chapel. This scene is backed by the Theban mountain, symbolised as usual by bands edged with lines and marked with black and red spots. There can clearly be seen, near the top of the pyramidial structure, the niche destined to hold a stela carrying a solar hymn. Also, the pyramidion has been painted black at the top, which is common, especially at Deir el-Medineh, but this still remains strange. The three small columns of text above some coffins merely repeat the names of Nakhtamon and his wife. The two mummiform coffins look very much alike, each, like a mummy, being surrounded with strips of fabric. Both wear the cone of ointment; the only differences, he wears a long false beard, curved at the end like those of the gods, whilst she wears the wig surrounded by a ribbon (see
Once again it can be seen of the symbolic character of all these representations, that there is almost no chance that Nakhtamon and Nebuemsheset are dead and have their burial at the same time.

4) - The surviving pedestal

(the one of the south side)

It is decorated on its three outer vertical faces, the top is blank.

On the front, Anubis, the divine canine (its deity manifested by the oblique flagellum), a red ribbon around the neck, reclines on the roof of a funerary chapel of which can be seen the entrance coving, built in light wood and reed evoking purification. Once again, here is the proof that nothing stopped the artist from painting Anubis in the monochrome style, instead of in black, as was usual.

On the north face, which edges the opening, and facing eastward, can be found Isis who kneels with her hands resting on a shen sign. This emblem is associated with the fragmentary formula evoking the exit from the chamber (see , see arrow for location, and ).

On the third face (south) is a divinity who, also seated facing the east, holds a pot containing three lighted candles (see , again indicated by the arrow). This image, in combination with another, can be found in the tomb TT5, of Neferabet. The two divinities face each other, either side of the deceased. The one on the left is named Djet, the other is Neheh (see ), both of these names translate to "eternity". A variant of the image of Djet is in the multicolour chamber of TT3, that of the worker Pached, (see ).

It is easy to guess the three images which were on the northern pedestal (no longer there), the one on the north side of the descent. At the front would have been Anubis, turned in the opposite direction to the image on the other pedestal. On the south end would have been Nephthys, and on the north end the other god of eternity. It is possible that a figurine of Anubis was placed on top of each of the two pedestals.

The south wall

As has already been mentioned, the decoration of this wall is intimately linked to that of the west wall, towards which face the three priests, all identically clothed, The text above them states: "A double purification (for) the Osiris, Nakhtamon, (and) for his sister (wife), the mistress of the house, Nebuemsheset, justified, by the hand of his son Piay, his son whom he loves Baki, his son whom he loves Pashedu, justified" (see the south-west corner: ).
The deceased ones, or rather their statues, are set on the sand of the Theban mountain, looking east. It is still possible to see the lower end of the staff of authority which Nakhtamon was holding, and the ankh sign of life which Nebuemsheset holds in her left hand. They are surrounded by streams of water from the hes-vase held by their son Piay, the one nearest to them. Behind him, his brother Baki plays the role of the lector priest, holding the scroll of the ritual, at the top of which is still visible the eye from the text "The Osiris, etc.". As a scholar, he carries a scribe's material under his arm. Finally, behind him, advances Pashedu holding in his hands the adze and the feather of Ma'at, two ritual objects with which he will conduct the ceremony. Some instruments which would also be used are, curiously, placed on a black chair, in front of Piay. Recognisable is the pesech-kaf amulet (two red ostrich feathers), a feather of Ma'at, a front leg of a beast.

The niche

The rest of the south wall, at the corner with the east wall, is occupied by a small niche whose walls have simply been whitened. Was it possibly used for storage ? (see ).

Now on to chamber B.