Right wing of chamber I

This is the most irregular shaped of the two wings (see ).

All three walls are divided into a deep upper frieze and two registers. Similar friezes can be found in some of the other tombs of this period and even before (see ), but the earlier ones do not contain the deceased. The top register deals with funerary topics in relation to the gods, while the lower register is dedicated to important human activities of the deceased's social status.

The frieze

This is formed of repetitive elements and runs consecutively around the three wall of the west wing of the chamber, starting to the right of the entrance and ending to the left of the entrance to the second chamber.
In each case Kyky is shown with one of his two wives, either Raiay or Ta-semenet, but never with both at the same time. Of the eleven occurrences of the couple, Ta-semenet only appears twice. The couple, Kyky and his wife, are stereotypical. Kyky is kneeling (with one knee) on the ground. He is clothed in his ample but plain white dress, a wig, a necklace and bracelets on his wrist. He raises his two hands in front of him, in adoration.

Behind him, with both knees on the ground, is his wife, clothed in her beautiful pleated white dress and wearing a necklace. Her long curly wig is surmounted with the "ointment cone" crossed by a lotus flower. Her wrists and forearms are decorated with bracelets and, as with Kyky, they are raised in front of her in adoration.
Two figures are the object of their adoration :

One is a stylised head, seen face-on, of a woman with the ears of a cow. This is the goddess Hathor. She has a multicoloured feather bouquet on top of her dead. The depictions of the head of Hathor are probably the best in the Theban Necropolis.

The other (who they always face) is the image of the funerary god Anubis, the black canine, lying on top of the entry of a mastaba. He has a red ribbon around his neck, a whip located centrally on the top of his body.

The texts only give the name and the titles of Kyky and his relevant wife. The couple always look to the left and Anubis to the right on the south-east and east walls, but in the opposite direction on the north-east wall. Hathor, as mentioned earlier, is always face-on.

The south-east wall

Located to the right of the entrance, it measures 2.66m in length.

The upper register

The deceased asks for entry into the underworld of the necropolis, and pass through the portals which are each guarded by a genie. These can be considered as minor aspects of the divine, and in particular here, as guardian divinities.

Three identical representations of the couple are present. Kyky walks toward a portal, his two arms raised. His wife Raiay follows him, drawn slightly smaller. She raises her left hand, while the right shakes a Hathoric-systrum. This sistrum has the same form as the head of Hathor in the frieze above. Mythologically it is supposed to reproduce the noise of papyrus when it crumples, and it constitutes the call to the goddess so that she comes to take the dead within where she will accomplish his/her regeneration.

The place which the couple must cross is, each time, represented in two sub-registers. The one at the top includes a simple doorway, with blue-green uprights and standing on a small step. The lower one includes an actual door but resembles a shrine rather than a door; of which the roof has a coving surmounted by raised cobras with solar discs. The text identifies them (from right to left, the direction in which the couple are walking) as the 3rd, 4th and 5th portal. This composition is inspired by the §146 of the Book of the Dead with an abridged version of §145, which names the portals and their guards. They only become common in the tombs of Ramesside officials.

In each case it is only the head of the genie which differs, all other aspects are the same.
Indeed, all are represented standing, as if striding. They wear a tight upper garment and a short kilt, while some are decorated with bracelets on their wrists and their arms. Each carries in its left hand a knife, and in the right a spear.

Section 1 (on the right) : both portals are badly damaged. The genie at the top has a vulture head; the lower one has a head of ram with long twisted horizontal horns. The text is also badly damaged, however, enough survives to identify the portal, and most gaps can be restored :
"Words spoken whilst approaching [the 3rd] portal [of the house of Osiris, and shouting towards the 3rd portal: 'Make] way for me! See, I [have come. You are purified] by the divine water in which Harsieses purifies himself […' The Osiris, ] chief accountant of the cattle [of Amon, Ky]ky, [justified, called Simut]. [The mistress of house, Ra]iay, justified."

Section 2 : the guardian genie of the upper door has a human head, and the lower guardian has a head of a feline. The text is well-preserved :
"Words spoken whilst approaching the 4th portal of the house of Osiris, and shouting towards the 4th portal : 'Make way for me! See, I have come. You are purified twice by the divine water in which Isis purifies herself.' The Osiris, chief accountant of the cattle of Amon, Kyky, justified. The mistress of house, chantress of Amon, Raiay, justified."

Section 3 : the genie of the top has a human head, and the bottom one has a head of ram decorated with horizontal twisted horns. The accompanying text gives precise details :
"Words spoken whilst approaching the 5th portal of the house of Osiris, and shouting towards the 6th portal : 'Make way for me! See, I have come, that I might enter. You (should read "I") know the names. You are purified by the divine water which Ra purifies himself.' The Osiris, chief accountant of the cattle of Amon, Kyky, justified. The mistress of the house, Raiay, justified".

There are two main points of interest in the text associated with these portals.
The first comes with, what could possibly be the reason for having to "shout" or "cry out" ("sbH") to the portal ?
The second arises from the conflict over the name of the last portal; it is intially given as the 5th, but the shouting is directed at the 6th. It could just be a scribal error.

The lower register

This represents a scene very rarely found at this time, but which has an obvious connection with the work and the social role of Kyky: the inspection of cattle (see ).

On the right, a much destroyed part, held a standing Kyky, staff of office in hand, supervising the cattle of Amon. Behind him, a scribe. In front of him, the remains of two men coming to give him their records.
The cattle are distributed on two sub-registers : "cattle of the stall of the divine offerings" at the top and "cattle of the Opet Festival" below. Notice should be taken of their variety in colour : some are black, others white speckled with black, or even different hues of reddish-brown. As far as can be seen, it appears that they are all bulls.
Two characters are represented behind the herd: at the top it is Kyky himself, scribal material in hand, who accomplishes his mission.
Below, a drover clothed in a simple kilt herds the cattle in front of him with a stick and two ropes.

The north wall

This measures 2.51m in length and again has two registers below the deep frieze.

The upper register

This is almost completely destroyed. From what does remain, it appears to have included the usual scenes of banquet, whose hosts were seated on chairs. It is possibly about the banquet that was supposed to be the gathering of different characters, in the chapel, at the time of the "Beautiful Festival of the Valley".

At far left of the register are a couple seated in front of an offering table. The text above them states : "[…] of the Lord of the Two Lands, […] of Amon, Sa-ry, justified. His sister, mistress of the house, chantress of Amon, Tauret-hotepti, justified in peace.". As one would have expected to see here Kyky and one of his two wives, who is this "Sa-ry" character and who is Tauret-hotepti? One possibility is that they could be Kyky's parents. Facing them, standing at the other side of the table, is probably a priest.
The remainder of the register, to the right, is divided into two sub-registers containing guests seated before offering tables.
At the right-hand end of the top sub-register are seated two women, one of whom is identified as "Her daughter, Tauret-hotepti, justified". If this is the same person as at the left end of the register, who is sitting in front of her?

All previous authors of the this tomb have ignored the naming of the above mentioned people. In fact they actually state that the scene represents Kyky and his wife, seated left, in front their guests.

The lower register

By chance, this is very original, and it is well preserved. It represents different stages of the funeral procession which will continue on the north-east wall.
From lack of space, and as is always the case for the scenes of this type, the events are telescoped. It was a question of the artist trying to include all the events which were important to the deceased.

The procession on this wall includes two parts: a river based part on the right two-thirds, followed by the beginning of the land based part on the left third.

 a)  The scenes of navigation : the right 2/3 of the register 

This relates to the deceased (after first of all a judgement on the east bank, which is never represented, and which to be brief - gave him the right to be buried) crossing the Nile in order to reach the west bank, the one of the dead. The river is represented, as usual, by a blue-green rectangle streaked with zig-zag lines. Before the departure, two servants bring the final food offerings on tables, those which are the most perishable, which must come with the deceased in his journey. Two more tables are situated above the ceremonial barque, no doubt added by the artist to avoid a blank space.

The ceremonial barque (see ).
The first thing which catches the eye, is its magnificence !
Made of wood but presenting the shape which is usual of barques made from rushes, it is decorated at its prow and stern with an open and curved papyrus umbel. Both of these have attached to them a piece of red fabric floating in the wind. At the front is painted and udjat-eye. The craft has two oar-rudders, but it doesn't have a helmsman and is pulled by two other boats
In the centre of the barque is a splendid catafalque protecting the mummy of the new Osiris, Samut, and which is further protected at the front by his sister/wife Isis, and at the rear by his sister/mistress Nephthys. The reason why Isis is always at his feet, is explained by the fact that when he stands erect he will see his wife before he sees his mistress.
At the front of the boat is located a nome standard on which stands a jackal. This is not Anubis but of the more ancient god Wepwawat, "the Opener of the Ways"; who leads processions and secures the physical and mythological journey which the deceased is to undertake.

The inner bottom section, in which lies the deceased, has a red background colour. Above this is another red section punctuated by two rows of white squares, from which hangs a blue and white floral banner. When comparing this representation with the one of the north-east wall (see below), it seems possible that this upper area could represent a red curtain with a white rectangular pattern, which could be raised and lowered. The surrounding shrine-shaped edifice is surmounted of a red rounded roof on which is painted long white snake with open wings. This is a protective and beneficent snake. Under the usual coving, is a ladder frieze of coloured rectangles, which also extends down the supporting sides. Tall floral compositions, which it is necessary to imagine as being many actual bouquets on top of each other according to the convention of the Egyptian drawing, are located at front and rear of the kiosk.
The mummy is in an anthropomorfic coffin, which rests on a bed with legs which end in feet in the shape of lion's paws. Raiay can be seen leaning over the coffin, taking on the role of Isis for her husband.

The towing boats
They are both connected to the ceremonial barque by a rope. In order to really detail each of them, the two boats, which should obviously be side by side, are represented one above the other.

The bottom boat (see )
At the stern a sailor holds the tow rope which is attached to the ceremonial boat. At the prow, nearly effaced, a person responsible for checking the water's depth plunges his pole into the water. Seven oarsmen are represented, controlled by a stroke oarsman, who also holds the oar-rudder.
The central cabin, which probably held the family and friends, is pierced by three openings. It is decorated, at each corner, by a "festive branch" (see ).
Above, a sentence slightly missing in the middle : states :"Keep going, carry the honoured one towards the west. You will reach the west after 110 (years) ". 110 years were for the former Egyptians, and as the Bible would later use it from its reckoning, the ideal "age" for death.

The top boat (see ).
This one is very similar in form, but on this occasion a foreman stands on the roof of its cabin. Obviously he is there in order to see both of the two craft, because he directs the whole of the operations. Notice here also, the "festive branches".
Above, to the right, is the his instruction and title of this scene : "He calls : To the west, (repeated), one for whom the west is prosperous.".

 b)  From the Nile to the tomb : the left 1/3 of the register. .

The theme of this left-hand section of the wall actually starts in front of the top boat, as a small sub-register of the navigation scene, although it is separate. It then continues at the full height of the register, extending on to the north-east wall.

The small section contains four female mourners (see ). They stand in the conventional attitude as befitting their profession. Their arms are raised, they throw dust haphazardly over their hair. They are accompanied by small girls, possibly with the aim of learning the profession. In front of the group a vertical column of text declares : "Words spoken by the mourners", (although no such words are actually written).

The full height section begins on the right with the transportation of a large casket containing the four canopic vases. The casket, shaped in the form of a chapel, is surmounted by a reclining image of Anubis, identical to the ones found in the frieze. Large bouquets of flowers are attached to the sides. These four canopic vases in the casket contain the embalmed viscera of the deceased. It is carried by six men, in pairs, while between them can be seen two youngsters gesticulating, probably trying to imitate the mourners. A small vertical text comes with the scene : "The people who carry him".

In front, separated by the column of text, begins the parade of nobles, family and friends (see ). The five are represented in full dress, which testifies their high rank, and in the attitude of the mourning, shown by a hand being held to the head. As with everything else on this register, they head towards the north (but not forgetting that, because of the axis of the tomb, they would have and do, magically!, head towards the west).
The accompanying eleven lines of text above them explains : "So speak the nobles who follow the funeral cortege : 'Cold (dead) is the one purified for his city (the necropolis) , the one silent for his associates, he who loves Ma'at (the truth), who is of good character, who hates improper things. The Osiris, scribe in chief, accountant of the cattle of Amon, of Mut, of Khonsu, Kyky, justified, called Samut, justified'.".

The north-east wall

This measures 2.57m in length.

The lower register

This continues from the lower register of the east wall. In fact the top of the staff of office, of the foremost noble, is located on the right-hand edge of this wall.

 a)  - Far right-hand side - full height of register. 

The scene is shows the carrying of the ceremonial barque of Kyky, now on the west bank, having just completed its passage across the Nile. Note, however, the reduced scale when compared with the one of the east wall. In no way, at this size could Kyky's wife have leaned over his coffin; this is the ancient Egyptian's "artistic licence". Now the anthropomorfic coffin is no longer visible (the red and white curtain is fully lowered), and the deceased's wife walks next to the barque. This is carried by four men on each side, and one at the centre, behind whom Raiay walks.
Two vertical lines of text, above the prow of the barque, do not comment on the scene, but merely provided some of the deceased's titles and his two names (Kyky first).

At top right is a small table piled with offerings. This belongs with two others seen in the upper sub-register which follows to the left and is yet another occurrence by the artist, of filling what would have been a blank space.

 b)  - Left section of right-hand side : two sub-registers. 

Although divided into two sub-register, this whole still maintains a coherent character (see ).

In the bottom sub-register is found a drover who herds in front of him the cattle. These will serve as the sacrifice and the funerary meal. The scene is partially damaged.

In the sub-register above, is represented a group of mourners who will precede the cortege. There are seven women and three girls, who are in the same attitude as those seen on the east wall.
In front of them is a cow and her calf, and a man (situated above the calf) who is running whilst carrying the foreleg of bovine in his hands. This, together with the cattle in the lower sub-register, are the two extremities of a butcher shop scene, however, the carving of the beast is not represented. The running man actually intrudes into two columns of text, which are situated above the next (full register height, if the text is included) scene.
Again filling what would have been a blank space above the cow, are two more tables of offerings.

 c)  - Left-hand half of register - again full height. 

The left half of this area is almost completely lost.
This represents the scene which is ritually fundamental for the deceased, that of the opening of the mouth and eyes on the coffin. It is also to here that the servant carrying the foreleg, already mentioned, hurries.
Of the original representations we have the lector-priest, who reads a text essentially written down on the scroll of papyrus which he holds in his hands. Behind him, located at the front of the preceding lower sub-register, is an aide who appears to carry for him his scribal material. To the left of the lector-priest, a sem-priest dressed in his panther skin provides incense from a censor held in his outstretched hand; while in front of him is what remains of the priest who actually practised the opening of the mouth and eyes. The only other remaining portion of this register is at bottom left, where there are still traces of what is possibly the representation of the tomb or a shrine.

Above the scene is a long fourteen column text which states :
"Performing the opening of the mouth for the chief accountant of the cattle of Amon, Kyky, justified. His face is towards the south, (he is) on the sand of the desert. The land on the day of the clothing is behind him".
[A word of explanation is necessary here to grasp this linguistic abbreviation: the ritual is not performed on the mummy itself or on the sarcophagus, as often found in literature, but actually on the anthropomorfic coffin placed upright for the occasion. It is the magical substitute for the mummy lying within.]
The face of the coffin is turned ritually southwards, towards the source of the Nile. The feet of the coffin rest on a small mound of sand of the desert. Kyky thus has his back to the kingdom of the living where his body was wrapped in the mummy bandages, his new garment.]
"Words spoken by the lector-priest and the sem-priest: going around him four times with the nemset-vessel of water. 'Your purification is the purification of Horus'; uttered next time round :'Your purification is that of Thoth'; uttered next time round : 'Your purification is the purification of ??? '; words uttered after turning: Twice purified, four times."

The last column of text, on the right, actually refers to the man carrying the joint of meat : "Bringing the chosen piece."

The upper register

Continuing on from the register below, this register presents the deceased after entering the world of the hereafter.
Three distinct sections can be observed : the welcome into the world of the dead, the test of the weighing of the heart and the presentation before Osiris.

 a)  - The right-hand scene : Reception of Kyky and his wife. 

They are received, firstly, by a goddess (who could be either Isis or Ma'at) who offers them the hieroglyphic sign for the mouth, . She thus also returns to them, symbolically, the power of speech (and, anecdotally, confirms by this action the ceremony of the opening of the mouth in the previous register). This scene recalls §21 and §22 of the Book of the Dead.
The two spouses are in full festive dress, and Raiay again wears on her wig the festive ointment cone, crossed by a lotus flower. She raises her left arm to greet the goddess. It has been suggested (Seeber, Totengericht) that this scene could mean (magically) the pre-success of the judgement to which Kyky is going to be subjected.
Behind the goddess stands a god, whose head is lost but who could be either Anubis or Horus, was-sceptre in one hand and an ankh-sign in the other. It is he who is going to guide the couple toward the room traditionally named "of the two Ma'at", where he is going to be judged by the weighing of his heart, which is summarised next.

 b) - The middle scene : The weighing of the heart. 

The couple hold their left hand to their right shoulder, in sign of respect, standing behind the scribe god Thoth (who will record the outcome of the judgement) (see ).
The scene of the weighing of the heart is very traditional. The god controlling the balance is certainly Anubis, and the two pans are in balance: the heart is as light as the feather of truth (the symbol of the goddess Ma'at). because of this judgement, the monster Ammut (aptly named "the devourer") won't have to intervene.
The nature and the significance of this hybrid animal form is probably more complex than it appears, but here is not the place to debate this.
Thoth, with the head of an ibis bird, notes the result as positive. It always seems to be positive !

 c)  - The left-hand scene : before the Lord of Eternity.  (see )

The couple are lead by Horus into the presence of Osiris, who has been overseeing the judgement scene. This time Kyky and his wife are bowed in respect and hold the right forearm in their left hand.
Osiris is seated in his typical golden shrine at the far left of the register and which is very damaged. Still recognisable is his atef-crown and flagellum. In front of him are the four small images of the sons of Horus. They are represented in human form but with differing heads : a human head, head of falcon, head of baboon and head of canine. When previously seen, on the north-west wall, they stood on an open lotus blossom, this time they are apparently on top of a pedestal.
The text within the shrine names Osiris and the four sons :
"Osiris-Khentymentiu, Wennefer, Lord of Abydos. Amseti, Hapy, Duamutef, Qebehsenuef."

 The texts above the scenes. 

A text in 28 columns extends above the three scenes, reading from left to right. Towards the right end they are badly damaged. The text are the words spoken by Horus, Thoth and the uncertain goddess at far right :
"Words spoken by Horus, the avenger of his father. 'Behold, I bring you the Osiris, chief scribe, accountant of the cattle of Amon, Kyky, justified. He has been judged by the balance. There is no fault found in him. He has been given back his heart into his body, and his mouth so that he may speak.'
Words said by Thoth, Lord of the hieroglyphs : 'Behold, I write the name of the scribe, the accountant of the cattle of the temple of Amon, Kyky. His heart is […] upon the balance. He is justified and free from evil.'
[then 6 columns lost by damage]
Words spoken by […], the Lady of the Sacred (Land). The Osiris, Kyky shall rest… [the remainder is unreadable]".

The entrance to chamber II

The second chamber is entered through a narrow doorway, about one metre wide, framed by two doorposts of 0.27m and 0.28m in width ().

The lintel and doorposts

Along with the upper part of the two outer doorposts, the lintel, which ran along the top, is now lost (see ). What still exists shows that they each originally carried two columns with the traditional Htp di nsw style offering formulae.

At the bottom of each doorpost, enclosed in a rectangle, is a figure of Kyky seated on a chair, thus able to receive the visitors of his chapel. He wears a short wig and holds in one hand his staff of office, in the other a sekhem-sceptre. The image area on the left is complete and it contains a short text, bearing the name and main title of Kyky () ".
The surviving text of the left doorpost includes : "May he enter and leave the necropolis", whilst the one on the right includes : "to see (your) face at dawn, every day, without ceasing".

The left entry thickness

This measures 0.87m in width and 2.13m in height. The wall consists of two registers, the lower one being less than half the height of the one above.

The upper register

Kyky, shown as if entering the second chamber, offers a large composite bouquet to Osiris (see and ). The great god is standing on a dais in the form of a Ma'at sign. He wears his atef-crown and the beard of the dead with its hooked tip. His body is enclosed in a white shroud from which emerge his two hands holding a long heqa-sceptre. This representation closely resembles the one of Ptah. It is possible that it was intended as a reminder of the great Memphite creator god.
Above, a text is drawn in black hieroglyphs on gold (yellow) background :
"Osiris, Lord of Eternity. Giving praise to Osiris, Lord of Eternity, so that he may give a good funeral, after (having reached) an advanced age, in the west of Thebes, for the Ka of the Osiris, chief accountant of the cattle of the temple of Osiris (sic!), of Mut, of Khonsu, Kyky, justified, called Samut, justified.".

The lower register

Here, Kyky faces the other way around and dedicates offerings placed on the three pedestals in front of him. He again addresses Osiris (who is not represented), asking to be able to enter and leave the tomb : "… without being repulsed by the doors of the underworld."; and for the provision of offerings : "… bread, beer, beef and poultry and all good and pure things, on which the gods live."
The end of the text is rather obscure, making its interpretation uncertain : "royal scribe, good of valour in the hunt, huntsman of Amon, Ameneminet, son of […]-Inpu."

The right entry thickness

This measures 0.84m in width by 2.13m in height.

Like the left thickness, this wall may also have consisted of two registers of unequal height, the upper one being by far the tallest, but the state of the wall makes this impossible to provide details.

In the certain upper portion of the wall, Kyky is again shown as entering the second chamber and again he offers a composite bouquet to Osiris. The figure of Osiris is almost totally lost, whilst that of Kyky still partially exists. The accompanying text is well preserved :
"Osiris-Khentymentiu, the Great God, Lord of the Sky. Giving praise to Osiris, Lord of Abydos, so that he may allow leaving and entering of the necropolis, without my Ba being repulsed. For the Ka of the Osiris, the chief accountant of the cattle of Amon, Kyky, justified, called Samut, justified, who rests to the west of Thebes."

Chamber II

The second chamber measures 2.30m in height, with a length of about 3.50m and a width of about 2.75m. Its axis is perpendicular to that of the first chamber; which is therefore geographically south-north, but ritually east-west.
The observation on entering is the almost complete absence of decoration, when compared with the previous room, as well as by the niche at the rear, which contains four broken statues.
No engraving exists in the whole room and there are no texts on the walls. The scenes are more or less in a state of advanced outlining. They have at least the merit to show how the craftsmen (painters and draftsmen) worked.

The small south-west wall

Located immediately to the left on entry, this measures 0.75m in width.
It has two scenes, one above the other, both are only sketched.

The lower scene.
This shows the couple kneeling in front of their Ba-birds (see ), opposite the goddess of the sycamore, very close to an extent of water. The goddess pours water into their hands.

The upper scene is exceptional.
Here Kyky is shown erecting a djed-pillar with the aid of a rope. Raiay stands behind him. It is to my knowledge the only representation of this scene where no intervention is made by the king nor a god. Even in its classic variant, the scene is not very popular in the Ramesside tombs. For other examples, see the tomb of (dating from the time of Amenhotep III and IV), and the tomb of .

The small south-east wall

Located immediately to the right of the entrance, this measures 0.63m wide. It is not decorated.

The east wall

This measures 3.46m in length and it is divided into two sub-registers.
Although no texts appear with either of the two register, lines were placed in readiness for inclusion.

The upper register

The god Ra-Horakhty and the goddess Isis are located, on the left, inside a kiosk. Notice that here, the colours have been applied before the outline. The god is seated on a low cubiod seat. He has a large solar disk on his falcon head. Behind him stands Isis making a sign of protection with her raised right hand. This image is rather strange. It would be more normal to see Isis watching over her son Horus or on her husband Osiris.
In front of the kiosk is a scene of offering, where Kyky advances with both of his arms raised towards the table on which are piled breads and flowers, with jars at the foot. Behind him, three women sketched in red outline, with cones of ointment and a floral stem on their heads.

The lower register

Again, on the left, was represented another kiosk similar to the one above. However, this and its occupants are now almost entirely destroyed. Only the front edge and the cuboid chair (of a different design to the previous one) of the god still survive.

Standing in front of the kiosk is a god with the head of a falcon and wearing the Double Crown. He carries in his hands the two feathers of Shu. His head is turned towards the left, while he seems to act as the initiator of a ceremony. To his right, a man (perhaps Kyky) advances; his two arms raised holding a feather of Shu in each hand and also wearing two in his wig.
Three women follow him, all with ointment cones on their head. The first also holds a feather in her right hand, whilst in the left, she waves a festive branch. The second woman raises both her hands in adoration, the third also has her hands raised but she holds a flower (probably a lotus) in her left hand.

The north wall

In this wall is dug a niche containing four statues; these have been smashed. Only the lower parts of these remain today.
Fortunately the names of the people represented can still be identified (see ).

The first statue, on the left, represents : "The Osiris, the mistress of house, chantress of Mut, mistress of house, Raiay".

The second : "[…] of Amon, Kyky, justified".

The third : "The scribe, accountant of the cattle of all the gods, Meryra".

The fourth : "The mistress of house, chantress of Amon, Tutuia, justified".

We are uncertain as to what ties there are between the family of Kyky or his wife, and the people named, Tutuia and Meryra. They must have been very important in order to have such a place of honour in the tomb. It is likely that they were mentioned on portions of walls which have been destroyed.

On either side of the niche, the wall was decorated, at least partially. It is very difficult to say of what the theme consisted. But the two areas were bordered by a ladder band of coloured rectangles.

The west wall

This is divided into two very unequal sections by the doorway giving access to the underground chamber.
Only the left part (1.55m), the end closest to the entry, contains a presentation in outline only, but nonetheless very interesting.
It shows an anthropomorphic coffin borne by four men. The faces of the first three are no longer distinguishable. The one of the fourth is dressed in a mask of the falcon head of Horus. The four are lead by another, possibly a priest, wearing a mask of Anubis.
To the left and at the feet of the mummy are represented six women who mourn the deceased.

The right-hand section of the wall (0.91m) is uninscribed.

The opening in the west wall provides access to a staircase which leads eventually to the burial chamber (see ). It was found full of debris. Only a few fragments of an anthropomorphic coffin were found, and these had no inscriptions.