The wall is divided in two registers, at the top of which, like the side walls, is a decorated frieze. There is no middle frieze on this wall. The two coloured bars (yellow and red), which separate the bottom register from the dado, can more easily be seen, although not a great amount has survived.

This is almost entirely obliterated. However, from what remains, it can be seen that it was almost superimposable with the one of the east wall. There is a small difference in the building on which Anubis is lying. On the east wall it is white, but here it is yellow, probably representing a temple.

The barques of Montu pursue their path. It will end by overflowing on to the extremity of the west wall (due to a lack of space). The general organisation of the scenes is superimposable with that of the east wall. The portable barque of Montu is placed on the real boat, which is towed toward Ermant by two towing vessels. Various participants present to the god the offerings of welcome.

Above the wooden building which protects the portable barque is the representation of the vulture goddess Nekhbet, who, with outstretched wings, holds in each claw an amulets in the shape of the 'Shenu' sign and a large feather of Ma'at. The craftsman included decoration on the lateral supports of the chapel. The coving of the chapel is decorated with a row of upright solar cobras, beneath which is a winged solar disk evoking Horus-Behedeti (very similar to Nekhbet). These constitute the two emblems which the kings of the Old Kingdom surrounded themselves when they left for war.
The portable barque rests on a small chapel structure, but this has been partially concealed by another structure. This again has a row of cobras at the top, a coving and of other motifs. Below it are two scenes which show Thutmosis III and Ramesses II dedicating some offerings to Montu.
In front of the full chapel structure (to the right) is the vizier Usermontu and his brother Huy, but in an inverse order of that of the east wall. This time it is Huy who makes the libation and the incensement. Above the two men was a text in six deep yellow columns, but time has nearly erased the black of the hieroglyphs completely, making it illegible.
The scene at top left, is connected to the offerings which are going to be presented. It shows an anonymous priest who goes into a temple or into one of its chapels, whose doorposts are stamped with the name of Ramesses II.

These are not the same as the ones on the east wall. At the front of each is the presence of a horse on the side of the case reserved for the captain, which indicates that they transported the animals destined for the army or of the king. It should be noted that the artist clumsily tried to a create perspective whilst showing the two vessels, one behind the other. This is how the rear of both hulls has a different curvature, permitting to clearer view of the vessel in the background. The two men at the rudder are individualised distinctly, as also are both ropes joining the towing vessels to the transport barge. Again there is a scene of exercise with the fight using a stick, on the kiosk of the second boat, but this time, the man on the right confesses himself to be the loser, having had his staff knocked from his hand, and says: "It is Amon who gives victory". On the other kiosk, to the right, is a pile of offerings.
Two men, one on each boat, offer bouquets. They represent: "The charioteer of the stable of Usimarere-Setpenre (= Ramesses II), Raria" and "The charioteer, Iia".
Due to the restricted space, which didn't allow the representation of the commander on the boat, the designer placed him on the shore (on the adjoining part of the west wall). He is identified as: "The officer (of the ship ?) 'The […] of Pharaoh', Pached, who was brought into the world (by) Maiay".

This part of the register, upper right, is divided into two sub-registers. The top one has the offering placed inside two small temples or chapels. The bottom one has two separate piles of offerings, not enclosed thus probably indicating them as being more modest.

• The first scene, to the left of the top sub-register, has offerings placed in a temple or a chapel whose columns are inscribed with the name of Ramesses II. The officiant is "The steward of (Queen) Tiy, in the estate of Amon, the royal scribe, Usererhat" (queen Tiy was the great royal wife of Amenhotep III). He holds in one hand a bouquet (not seen in the photograph) and with the other he pours the contents of a tray of incense (golden, with small red marking) onto the heaped offerings. There is no indication as to how he retains it. On the ground lies a cattle carcass.
• In the second scene, the chapel again bears the name of Ramesses II, here the officiant is Khonsu himself. He here bears the title "Overseer of [the cattle of] Menkheperure" (Tuthmosis IV). He is followed by "His mother, [the chantress] of Montu, Lord of Ermant, Tauseret", then "His wife, Taiay" (surely the error by someone for Mutia), then by "His daughter Ruy". There is also a small anonymous girl, who stands behind Khonsu. Each of the women shake a Hathoric sistrum, one holds a censer and another possibly the top of a fan.
• Scene three, is on the second sub-register, on the left. This shows "His father (?) the chamberlain (the court official in charge of domestic and ceremonial affairs) of Menkheperure, Djehutypai". Both of his arms are raised in front of offerings, piled in three layers on top of three small tables, in the middle of which are amphoras of wine.
• Scene four, to the right, has a female officiant, "The priestess of Tjenenet of Ermant, Ru". Behind her, stand three other females, grouped together, and finally a fourth, who is actually on the adjoining part of the west wall (again probably due to lack of space). The first is identified (by text in front of her) as "Daughter of the chantress of Mont, Mai", almost certainly the mother of the priestess. The remaining three are identified by the text on the west all, above the last female (see ). These are: "Her daughter, the priestess Tent, […] deceased", followed by "Her daughter, the chantress [of Montu], Nesnub" and finally, portrayed on the west wall, "Her daughter, the chantress of Montu, Mai". It should be noted that Tjenenet was one of the consort goddess of Montu, who possessed a chapel in Tod and Ermant; her cult never extended beyond these limits. The presentation of the two outer priestesses have shaven heads, non-pleated dresses and they wear sandals on their feet.

Nothing much has survived. On the left is the remains of an area of water surrounding a square-shaped island on which would have taken place the rituals on the mummy. To the right, the area is divided into two sub-registers. Here more detail has survived.

Already, by the time of Khonsu, the classic representation of the journey to Abydos had passed from fashion. It is possible that the journey in the barque on the pond is a substitute for the navigation of Osiris in his Nechemet (funerary) barque at the time of nocturnal festivals in Abydos. Whilst the rituals accomplished on the central island assimilate the deceased to the great god of death, under the supervision of the two goddesses Isis and Nephthys. In TT222 is also a prayer to Osiris, which, according to Assmann (p.352) states: "shows close solidarity with the themes of the receipt of the offerings, of the return to the living, of the walk in the garden and the involvement in the festivals".

To the right of this pond are two scenes (one above the other) with seated characters, to whom a priest dedicates some offerings. Nearly nothing remains in the bottom scene, whilst in the top, the character who receives the offering is identified as "The high-priest of Sobek, Usermontu" and behind him is "His mother, Ruia" and "His sister, Tjesy, the daughter of Ruia".

This included two registers, a top frieze and floral frieze. The whole lower register has disappeared and only part of the floral frieze has survived.

This is limited at the top and below by a band of multicoloured rectangles. It is comprised of groups of two multicoloured djed pillars separated by two columns of badly preserved text, initially black on yellow base, giving the titles of the deceased or members of his family.

The processional barque of Khonsu returns to its sanctuary of Ermant. It arrives in front of the pylons of the temple. They all stand on sacred ground, identified as such because all of the officiants wear sandals. The barque is borne by eight priests who have the shaven skull and their chest crossed by a white strap. A band is tied around their long loincloth. They have come with "High-priest of Montu, Ramose", who walks at their side, clothed in a panther skin, worn over a long golden kilt, with a white one under that (see ) [NB: one knows for this character two statues : one in the Chicago Art Institute (no 20264) and, since November 2013, a second statue found in the temple of Montou at Ermant (see )].
Two priests wait for the divine statue. The first is performing the act of purification; a bag hangs from the end of a chain over his white loincloth. The one behind him makes a libation from a triple vase and offers a bouquet. Above are several columns of text of welcome, the black hieroglyphs of which have badly resisted time: "Words spoken by Montu, Lord of Ermant. Welcome! You arrive from Tod to take your rest in Ermant. All your people are standing to cheer you when you return to Ermant. They have the happy heart which you bring", the rest of the text is impossible to reconstitute with reliability. It seems strange that words of welcome to the statue of Montu are spoken by Montu himself! The statue which travelled was perhaps not the main statue of the god, the original probably didn't leave its shrine.

The pylons of the temple, between which is the entrance, carry the cartouches of Thutmosis III and the entry itself is named "Beautiful is his appearing". At the bottom of the left pylon is an image of the hawk protecting the small figure of the monarch. This is presumably on a perch and could have been carried at the end of the small procession.
There is nothing to confirm that this represents the main sanctuary of Montu, where a small temple was dedicated to this god by Thutmosis III and of which Khonsu would be the main officiant.

Very little has survived, but it is probably superimposable with the scene of libation of the east wall. Khonsu officiates in front of the god's statue which has regained its place in the chapel. It represents a prestigious representation for Khonsu, to which he assigned an area of choice on the west wall. Situated in the axis of the entry and very illuminated, the scene could not fail to be seen by the visitor. It is the principle of artistry for a significant image to be placed in a significant place.
The accompanying text states: "Offering incense and cool water doubly pure for the Ka of the royal spirit, Menkheperre, the products of the sky and the land and of that which Hapi brings (Hapi was the god of the flooding) . They are twice pure for your Ka and your Ka is satisfied with them; namely: bread, beer, cattle, fowl, cloth, incense, ointment, various grain and vegetables, for your Ka, 0 good god, lord of the Two Lands, Menkheperre, son of Re, Tuthmosis (III), the products of the sky and the land, and [whatever is given to ?] the greater and lesser enneads, and to all the gods of the sky and the land, and to the royalty (?) of Menkheperre, justified. That he may give all good and pure food, good and pleasant things, to the Ka of your favourite, the high-priest of Menkheperre, Khonsu, also called To. May he give […]". A curious detail indicated by Davies: "Next to the feet of Khonsu is a Ba bird", but the authors of this page have been unable to find it, not even in the left-hand section.

Very little of this has survived, but it can be seen that the design was the same as on the facing east wall.

Nothing of this has survived.