The left wing is located at geographical west (ritual south) and the right wing to the east (ritual north). The chamber is of an irregular shape, with the east wall not being at 90º to either the north or south walls and it is also longer than the west wall. Also, the doorway to the second chamber is offset to the left of the central entry axis.
The height of the chamber varies from 2.05m at the west end, to 2.10m at the east.

The walls of this chamber are, as are those of the second, decorated with scenes of typically Ramesside inspiration.
In fact the scenes bring into play the divine representations as well as those copied from vignettes of the Book of the Dead, of which the tombs before this period were deprived, except during a short period at the extreme end of the 18th Dynasty.
Typical also of this period is the very beautiful frieze of the right wing of the first chamber, which shows alternately Kyky and his wife making requests of Anubis, reclining on the entrance to a mastaba, and Hathor, shown only as her head (see ).

Situated immediately on the left of the entry, it measures 2.78m long.
The wall includes three superimposed registers. The top two of which contain the texts dedicated to Mut and which converge toward her images on the north wall; these texts, a major interest of the tomb, will be studied farther in the on page 4.

Kyky is represented as a priest, with a shaven skull. He addresses, arms raised in adoration, the goddess Mut who is actually on the opposite wall. She is in fact the focus of the first major text of the tomb, a kind of very special autobiography, in which Kyky explains how and why he has chosen Mut to protect him, in which he indicates that he gives all of his goods to the goddess, thus disinheriting his family. The text uttered by Kyky flows out in front of him in 75 lines to the extremity of the south-west wall, then on to the west wall, to finish in front of the goddess on the left end of the north-west wall.

This is based on the one above, but is very much destroyed. Again, Kyky (of which only the bottom part of him survives) is located at the extreme left. In front of him extends a long text of 59 lines, again towards a representation of Mut on the north-west wall. It represents the legal statement by which Kyky bequeaths his goods to the goddess.
This second text permits the dating of the tomb precisely, since it contains the cartouche of Ramesses II; this type of dating is very rarely possible in the private tombs.

This is seriously damaged. At the left, we find Kyky seated on a chair with a backrest accompanied by his wife Raiay, she is reclining on a stool. The feet of the two characters rest on a mat. Both wear a large wig and have their right hand on their knee, holding a piece of material. In their raised left hand, they accept the offerings which are piled in front of them on a pedestal. These offerings are both food and floral (not having photo or valid reproduction, I cannot say some more).
These offerings are blessed by a standing priest, who should logically be the eldest son of Kyky, providing that he had one.

On the right of this scene, and again very damaged, Kyky is standing, and one guesses that he held a staff of office in his hand. He attends, ex officio, to the hardly recognisable works of the fields, of which a foreman gives him a report.
It is rather rare to find these scenes of ploughing in the XIXth Dynasty, compared with the previous period where they were the norm.

This measures 2.15m in length.
There much is not to say relating to iconography. In fact, the upper and middle registers carry the two texts heading toward Mut. Between them is found a kind of sub-register, which looks more like a frieze, of which, only at the extreme right part, can be recognised as including jars of oil.
The lower register is badly damaged. On the right is a priest followed by four women, making offering to a seated couple, while on the left a priest is offering to another seted couple.

This measures 2.71m in length.
This is produced as three superimposed registers, each of them being surmounted by a black band representing the hieroglyph ((pet, the sky).

1)  - At the extreme left, is the end of the first text, whose beginning is located on the east and south walls. It ends in front of its recipient, the goddess Mut.

2)  - The goddess is seated under a richly decorated kiosk. () At the top of the roof is a frieze of cobra adorned with solar discs, which rests a coving, at the lower edge of which is a "traditional frieze" formed of a succession of coloured rectangles.

From the coving hangs a red and black banner. The small structure is supported by fine wooden papyriform columns, to which red ribbons are attached, flowing outwards. The umbels of papyrus are surmounted by a representation of the goddess Hathor: a woman's head with ears of a cow, her wig is crowned by the goddess's characteristic sistrum. A floral garland is stretched between the columns.
Mut is seated on the ancient square-shaped chair with a small backrest. She wears a blue-green skin-tight dress with two shoulder straps. She has bracelets on her wrists and arms, and a broad necklace around her neck.
On top of her long black hair she wears a headdress in the form of a vulture, which is her emblem. This is surmounted by the royal Double Crown, which shows pictorially the facts which Kyky declares (and which is inscribed in front of her) : Mut is Mistress of the Heavens and Queen of the Gods.
In her hands, the goddess holds a papyriform sceptre, which is not specific to her, and an ankh-sign.

3)  - To the right of the previous scene is a new independent scene where Kyky is paying homage to Amon-Ra (see ). The two scenes are separated artistically by a column of text : "Justified by the Great God, the Osiris, the royal scribe, the chief accountant of the cattle of all gods of Thebes, Samut, justified in peace."

Here he is represented in motion, but this time, with a shaven head and in a long pleated dress and long projecting kilt. His right hand is raised in sign of greeting. He carries, illogically, on his left shoulder, a yoke at the end of which swing two containers. With his left hand he controls on tethers four offering bulls, of which two are red. At the same time he holds a bunch of three papyrus stems with the same hand.
He also brings numerous offerings which are stacked on and around three tables and a pedestal : breads, plants, flowers, etc.
All are destined for the shrine containing the statue, hidden from view, the text written in front of the great god states "Amon-Ra, Lord of the crowns of the Two-lands, opposite Karnak".

It is certain that the offerings are made in front of the shrine which was carried in procession at the time of the great Theban festivals. In fact it is possible to see one of the bars which allowed it to be lifted by hand. Just above the bar is a symbolic representation of Amon's ceremonial boat, with a prow consisting of beautifully decorated ram's head adorned with a large solar disc.

The shrine has a golden appearance. It is surmounted by a coving above a winged disk. Another winged disc is portrayed under this between two ladder bands of coloured rectangles. Was this probably intended to portray that, in fact, their were two shrines, one fitting inside the other?
These winged disks ordinarily appear above the royal representations because they represent the divinity of royalty.

The main scene represents the pharaoh "User-Ma'at-Ra" (Ramesses II, whose cartouche remains legible). On the left he presents a statuette of the goddess Ma'at to Amon-Ra. It signifies that he reigns to not only maintain order in the land but also the justice required by the gods. On the right two pots of ointment are represented. On the left the king wears the white crown of Upper Egypt, and on the right the blue kepresh-helmet, the headware of ceremony and not the helmet of war, as was believed for a long time.

The bottom of the shrine formed by a frieze of kheryt . These birds, with raised arms, are shown sitting on a basket (the hieroglyphic neb-sign, which also has the meaning of "all") representing humanity, all men, they are also in worship and whose king is the representative of the gods. Originally they symbolised the inhabitants of Lower Egypt, under submission to the king of Upper Egypt.

Outside the shrine, along the top of the scene, are eleven columns of text. The two columns at the far right relate to Amon and read left to right : "Amon-Ra, Lord of the thrones of the Two Lands, in front of Karnak.".

The major part reads right to left and contains the following supplication of Kyky :
"Adoration to your Ka, Amon-Ra, King of the Gods. May you give to me (here, the sign for "you" is reversed, with the handle facing away from Kyky) a beautiful old age while I follow you, and a funeral as one who is in you (= who follows your path) .
For the scribe's Ka, accountant of the cattle of all gods of Thebes, Samut, justified, called Kyky."

This can be divided into three distinct sections.

This is slightly different to the one in the register above, with a rounded roof, and of simpler columns.
Here the goddess faces the end of the second text uttered by Kyky and which finishes at the right-hand edge of the south wall.

The text only mentions his name and some of his titles.
The god is represented by the image of his barque in a chapel which has the shape of the ancient sanctuary of Lower Egypt, the Per-nu (or Per-neset). A reminder that, according to the myth, the marshes of the Delta are the place of mystical gestation of the deceased under regeneration.
So, in the chapel, the god Sokar is manifested by his henu-barque (see ). This very special craft only came to represent the god at a later period. Another example of it is found in the temple of Sethy I, in Abydos, and in some tombs, i.e. .

The henu-barque is placed on an alter. A pedestal is placed at its left side, holding two vases (?) and two lotus stems. To the right one of this curious representation (which begins to multiply in this Ramesside period, the image seen in shows three anthropomorphic signs) is an anthropomorphic ankh-sign, with two arms which hold the great fan which accompanied the barque at the time of its processions.

He is accompanied by his wife, both are in festive dress. In front of them, piles of offerings are stacked on three tables. Between the pedestals of the tables are two vases of ointment, around each of which is wound a lotus flower.
Above of the couple is a text in 12 vertical columns :
"Praising your Ka, Osiris, Lord of Eternity, Ruler of Eternity. That he may give incense, breath and water, to the Osiris, royal scribe, chief accountant of the cattle of all gods of Thebes, Kyky, justified. His sister, whom he loves, the mistress of the house, chantress of Amon, Raiay, justified."

The kiosk under which the god is seated is quite simple. A series of raised cobras, adorned with solar discs, surmounts an Egyptian coving, whose lower part is decorated by a frieze. The columns are thick and without any special craftsmanship or decoration.
Osiris occupies the centre of the space. He is identified as "Osiris Khenty-Imentiu, Wennefer, Lord of Eternity". The first epithet means "the one who is at the head of westeners", the westeners designating the deceased. Wennefer is the regenerated form, the complete Osiris.
The god is represented in a very traditional manner. Thus, he bears three of his characteristic attributes: the atef-crown, the nekhkha-flail and the heqa-sceptre. His flesh is green, the colour of the resurgent vegetation. His body is enclosed in a yellow shroud decorated with a red stitched pattern. He is seated on a low square profile seat, which rests on the bevelled platform representing the hieroglyph for Ma'at.
Standing behind him is his sister and wife "Isis the Great, mother of the god" who wears on her head the hieroglyph of her name. The goddess spreads her protective wings around Osiris, which is a reminder that she can as also appear as a kite (and it should also be remembered that she is going to impregnate herself, with her deceased spouse, and to bear the child Horus).

In front of the god, and standing on an open lotus flower, are found . These are the representation of the four canopic vases intended to collect the deceased's viscera at the time of mummification. Each of the vases is placed under the protection of a specific divinity (Amset, Hapy, Duamutef, Qebsenuef). Associated with the four cardinal points, they relate to the reconstitution of the body of Osiris, cut up by his brother Seth and whose fragments were dispersed throughout Egypt.
Regrouped thus around Osiris, they announce the god's near rebirth, and by way of consequence, that of Kyky.

As with its counterpart on the east wall, and continuing it, this lower register relates to socially significant terrestrial activities of the deceased. All accompanying texts have, however, disappeared.
The register is divided in three sections, built on the same model.

The couple, Kyky and Raiay, represented three times in an identical way, are seated and receive the offering from a standing character.
Kyky is seated on a chair with a backrest and feet which finish in paws of a lion. He is dressed in an ample white dress, a long wig and a large necklace. His right hand is raised in acceptance of the offerings, whilst in his left hand he holds a sekhem-sceptre of power. Raiay is behind him, seated on a stool covered with a cushion. Dressed in a long ample dress, but with a tight waist, she wears a long wig surmounted by an ointment cone crossed by a lotus flower. Her left hand is raised in acceptance of the offering, while her right hand surrounds (sections 1 and 3) or is placed (section 2) on her spouse's shoulder, as a sign of protection. Because Kyky's role is of prime importance, she plays the role of Isis to his role of Osiris. She has therefore to regenerate him so that he can impregnate her, thus reappearing by his own work.

Section 1 : the standing character dispenses incense over a table adorned with breads. At the foot of the table are possibly jugs of beer. He thus blesses "the bread and the beer", the basic food of the Egyptians.

Section 2 (see )  : it is a character dressed of the panther skin who is the main sem-priest, but the wearing of a wig is not customary. In front of him is a curious pyramidal representation emerging from a cylinder. Davies dedicated these to a special article where he showed the association between these cones made of grease (or tallow) with wicks and the slim taper ones. The red bands on them, which can be seen here, are probably made from another colourful grease, but they could also be bands of cloth intended to hold the structure together when burning. The aim of the scene is two-fold: the tapers serves to bring light, the wax candle to bring the lasting smell of smoke, which doesn't however replace that of the incense since, as here, there is often found a priest making the incensing close by. In the 18th Dynasty, a priest can often be seen carrying two candles in the setting of the ritual of the light offering to the deceased, in order that he can find his path in the obscurity of the necropolis. The significance given to the process evolved during the time and the amalgam between light and fumigation was made. Progressively the custom instituted itself for the deceased's friends to bring between two to five lighted candles and cones, for light and odour, this last did not however replace traditional incensement.

Section 3 : here, the priest holds in his hands a censer and a libation vase. He blesses, not a bouquet but a veritable pile of onions (see ). This is very characteristic of the festival of Sokar (see ).

The next page continues with the right wing.