Four pillars and their architraves divide the room into two naves, east and west (). The ceiling was completely painted () but it is now blackened by soot and has lost much of its surface. The walls were made smooth with the addition of fine mortar. The decor is limited at the top by a frieze of khakerus. The blackening due to soot and mechanical abrasion of the walls is due to the use that was made of the room in the last century, and makes the reading of the surviving decor difficult. The east wall is almost totally lost. Note that it is in this room that both intrusive loculi are and which date back to the Greco-Roman period.

To the right of the passage, on the northern wall, the scenes (so called) of private life are particularly prominent, as otherwise this tomb has predominantly religious themes.

To the right of the passage, on the northern wall, the scenes (so called) of private life are particularly prominent, as otherwise this tomb has predominantly religious themes (). This is certainly Amenemopet coming back from the court. The small men turned to the left in the upper register appear in this scene. This interpretation allows us to understand the next scene (but which in fact chronologically precedes it!), seen frequently during the Amarna period: of a return by chariot (). It belongs to a series of representations that begin with the presentation of awards to the deceased by the king, in the presence of the royal family and dignitaries (a scene not shown here). Thus the distinction with which the official has been honoured is reproduced for eternity in his tomb and will be remembered.
Amenemopet advances in his chariot while a driver (shown much smaller) is galloping the horses (). The men who run alongside belong to his escort. Family and domestics are jubilant, arms raised. Above this scene servants (?) are kneeling, their hands raised in greeting. Others bring wreaths and necklaces probably gifts from the king. At the far right, at the end of the scene a house can be found.

In the large lower register, we recognize two boats with cabins, with the rudder being visible to the left at the stern. The first boat has run a wooden gangway out onto the shore. Five men and a woman, who is a little larger, are going about their business on the desk ().
Below and quite far to the left, a man (Amenemopet?) Is sitting under two trees, a large cane in his hand. Before him, are perhaps servants.
Below, a silhouette is recognized as the lower half of two people in a chapel. By analogy with other tombs (as in ), this would be the dead couple. Before them is a pool in the shape of an L pond in which we can distinguish flowers. Further to the right, three oared boats; one of them with a kiosk, represents the Neshemet barque.

We are present before the scene of the so-called pilgrimage to Abydos including "Approaching the temple of Osiris, so that I am in the following of the gods and I travel far in the Neshemet boat in company with the great god" and "coming in peace to Abydos.” This "journey" is part of the funeral ritual, but it is fictional. In practice, it comes down to a brief ritual ride on the Nile, or even just the bare representations of it: their magical power ensures the realization of the event. If there is no trip to Abydos during the funeral, it is often on the other hand that the mummies of the deceased will be taken to Abydos because they come back transfigured (justified) as a "living person".
Barely visible on the right hand end of the wall are Amenemopet and his wife, each carrying a raised bouquet and turned to the right.

The southern part is more poorly preserved than the northern part. Next to the entrance is a symmetrical representation of the preceding scenes. The following scenes are spread over three registers. At the top, we see traces of garlands and arbors.
On the left, also scarcely visible, there is a procession behind a sled upon which is placed a coffin. On the far right, legs of beef (?) have been stacked. The end of the wall displays several rows of mourners.
In the middle register there were, perhaps, other mourners.
In the lower register, we see a couple sitting on a platform covered with flowers, on their right are the traces of a boat.

On each of these walls is a stele surrounded by a frame imitating a shrine. The texts held inside this framework are prayers to the gods represented there: on the north wall, Anubis-imiut and Osiris; on the south wall Osiris and Hathor mistress of the West. The two steles have a curved top, a large middle register that carries a hymn and a third register as shown below. They are flanked, on the adjacent wall, by rudimentary sketches of Amenemopet and Nodjmet with one above the other. At the top sits Anubis the jackal God ().

Osiris and Anubis are seated on thrones resting on a platform. Worshiping them, we find the deceased in a very simple long tunic; Osiris is separated from him by a high stand on which there are a nemset vase and lotus flowers.

This holds thirteen lines of text, which sometimes preserves its colours, an invocation offering to Amun-Re in which are mentioned Osiris, Anubis and Hathor. They must give water to the deceased, incense offerings and all good and pure things for his Ka. Hapi (the inundation) must permeate the earth so that everything grows.

Nothing remains of this except some painted traces. The deceased couple is seated on the left. Some priests approach them from the right. The first priest makes a lustration with a Hes vase and censes (?); the second is destroyed; the third brings a stem of papyrus.

Nodjmet and Amenemopet are in a praying position. Nodjmet holds in one hand a sistrum and menat. On her wig is placed a perfume cone and a lotus bud. Before Amenemopet is a tall table of offerings where we see a lotus flower bouquet and nemset vase-. The throne of Osiris is placed on a platform; and the God has his traditional appearance. Behind him stands the Goddess of the West wearing a tight fitting dress; she raises her right hand in a sign of protection. In the accompanying text, Osiris is so fervently prayed to that he willingly wants to give offerings.

A text in eleven lines is addressed to "Amun-Re, Atum, Horakhty, Geb, Osiris, Isis the lady of the West, Hathor the lady of the western deserts, Anubis master of the sacred domain, the gods and goddesses of the realm of the dead". They are told to make "Ra appear every day" and that all the gods ensure the deceased is welcomed in the West, and that he gets ‘a thousand’ of food offerings and various gifts.

From the left a funerary priest advances with shaven head and wearing an animal skin, who lustrates and censes. He is followed by two women. Before the priest is a table piled with offerings and a display with a nemset vase then to the right, Amenemopet and Nodjmet are seated. Nodjmet drapes her right arm over the shoulder of her husband; he holds a sekhem sceptre and a stick.

At about the middle of the north and south walls a pilaster separates the two naves from one other (, ). The north pilaster having lost its decor only deserves a mention.

The south pillar is divided into three registers. The upper part is bounded by two red stripes and a line of circles between which the wall is undecorated.

The left upper register shows a building drawn in black (the house of embalming?). Details, such as the bases of the columns and doorways are in red. On the right in front of the building, rituals are being conducted on the mummy. The mummy wears a perfume cone and a lotus bud on its head. At least two men support the mummy from behind and two standing before it, their hands resting on its chest. This scene is certainly part of the Ritual of the Opening of the Mouth. Behind one recognizes mourners, some curled over, others standing.

Below is a pool surrounded by sycamores. At the top and bottom two boats are seen. In the top boat, on the left, at least two men are present, while in the right one, which is the same type as the Nechemet boat, a coffin is accompanied by three men whose heads are bowed. The silhouettes of a standing Isis and Nephthys can still be glimpsed. The bottom boat, on the left, is a Nechemet boat. Between these two sets of boats on a small island, two mummies are arranged back to back. In front of the left, we can still see the priest's arms that lustrated it to cleanse it; we can also see the water from lustration lines. A similar scene that was in front of the right hand mummy has been effaced...
This could be the private garden of the deceased, which he would enjoy again after the funeral and for eternity. But there are other possible interpretations, of which there has been an example in the tomb of Rekhmire: it is a stage of the Beautiful Festival of the Valley - or the anniversary of the burial of a statue the deceased - that one takes in procession over the pool. This hypothesis is supported by the fact that the rites involve identification with Osiris and that the Nechemet boat is specifically involved in the Osirian rites.

At the bottom we recognize mourners before the statue in its chapel. This time, it is after the Beautiful Festival of the Valley, or the anniversary of the burial of a statue of the deceased, that we take it in procession over the pool.