THE PASSAGEWAY BETWEEN THE TWO CHAMBERS

Directly facing the main entrance passageway is the entry to the rear, longitudinal chamber. The passageway is just over a metre in length, having a width of 0.76m. The ceiling slopes downwards towards chamber 2, being at the same height as the two chambers which it connects (chamber 1 being over 2.0m and chamber 2 approximately 1.9m). The surface, which was smoothed over in modern times (see opposite), in the early 1900's it was a rough rock surface (see the view, from chamber 2).

The north (right) wall

This wall now contains no decoration, although it does appear to have been applied with a surface coating. It may have been deliberately left empty, perhaps being the wall against which a door rested when open. This is the case in many other tombs, where evidence exists of hinges and bolt holes.

The south (left) wall

Although having lost much of its decoration, the southern thickness still retains a large portion at its chamber 2 end. On this wall, Menna and his wife face towards the main entrance of the tomb, towards the rising sun.
Part of the original coloured rectangle border design still exists at the top right-hand corner. Above this is horizontal chain structure of white oblong rings with red centres. This is edged, above and below, with black lines. A frieze is placed above it, being of an inverted lotus design (see top of ), the top of the frieze design is however lost, as can be seen in .

In what remains of the main image area, at the right-hand side, is represented Menna with his wife standing behind him. Their images have suffered from a great deal of damage. Only the rear of Menna's body has survived, with only a small part of his black wig remaining from his head. Other remaining parts are of the rear of his image: his neck (with part of the necklace), the upper part of his left arm (with a golden bracelet) and his left leg. There are some small fragments remaining in front of this leg belonging to his right one. None of the identifying text above him has survived, unlike his wife.
A large area of damage has removed most of her head. At the time when the original b/w photos were taken, more of her face still existed, along with the front of her headband (see ). Of the rest of her, there has survived: her collar, armlets and bracelets, and her semi-transparent dress. She held a golden sistrum in her left hand at her side, whilst in her right hand, held across her chest, she held a now lost item. The badly damaged text in the columns above and behind her, identifies her as follows: "[……] Ra, to follow in […] great festival, [chantress of Amon]; his sister, lady of the house, [chantress of Amen, Henuttawi]".

THE LONGITUDINAL CHAMBER

The width of this chamber is narrower at the entry (east) end than at the far (west) end, the ceiling is the same height along its total length (see ). In comparison with either of the two ends of chamber 1, this chamber is approximately half as long again, over six metres.
Its ceiling decoration has survived almost intact, with slight damage at the entrance, a crack across its full width, approximately halfway along its length, and another area near the far end wall. The design has retained its colours (see ).
The content of the two long side walls (left and right on entry), due to the amount of wall space available, includes a large amount of detail, sub-divided both horizontally and vertically. Except for the major scene at the far end of each wall, there is no accompanying descriptive text.
The left side (south wall) is composed of funerary scenes, finishing, at the far end, with the weighing of Menna's heart. The right (north) wall depicts the various events by which he becomes possessed with his soul: the mystical trip to Abydos, the celestial pastimes, which include fowling and spearing fish, and banquet ceremonies for himself and his wife.

The east (entry) wall

The wall, which is one and a half metres wide by nearly 2 metres in height, is divided to its full height by the entrance passageway from the previous chamber.

The only modern colour photo available is of the right-hand side. Of the scenes which may have been represented on either side of this wall, only slight traces now exist. However, at the top and bottom of the two wall sections, they still retain the top frieze and the bottom three broad stripes above the dado area. The frieze is of the same design used on all the walls of this chamber (see the ) and a small remnant of the rectangular border below the frieze still exists on the right-hand half of the wall, below which are some of the small remains of the artistic content.

The south wall

The south wall is divided into two sections.
At the right (west) end of the wall, is the scene of the weighing of the heart, in presence of Osiris. Underneath this is a register displaying several bearers of offerings, bringing them to altars.
The large section to the left (east) is divided into two registers, both relating to the funeral ceremony of Menna, on the journey towards Osiris. The journey to the west is the start of the activity of the wall. These registers are further sub-divided. The lower register is first in sequence, dealing with the transportation of the deceased across the Nile, heading towards Anubis, standing at the west end of the register. The occupants of the upper register head towards the image of Imentet. The sub-registers of both are also in the sequence of lowest first. This east section of the wall contains two large areas of damage, removing portions of the detail.

East side of the wall - lower register

This lower register has, at its west end, the standing image of Anubis. The large area in front of him is divided into two sub-registers.

Anubis

The god is represented, as usual, with a human body but with the head of a jackal. He wears a green-blue upper garment supported by straps which extend over his shoulders. This is overlaid from the waist downwards with a white kilt and, at the back, a yellow over-lapping section which is fastened at the front. He has a golden necklace and a green bracelet on each wrist. In his right hand he holds a was-sceptre in front of him and in the other, which extends at his side, he holds the ankh-sign. He faces the two sub-registers which include a variety of scenes, importantly the transporting of the deceased across the Nile.

Lower sub-register, starting at the right-hand side:

   The first part of the decoration consists of two craft on a stretch of water, each made of different materials (see the image opposite). The one in front (right) is of a wooden structure, and powered by three rowers who are standing not sitting. At the front is the pilot and the man at the rear operates the rudder. Although no connecting rope can be seen, this craft pulls the one behind, which is constructed from papyrus. Aboard the second are three men and two women. The men, according to the now almost lost text above them, are priests: the first is the officiant, then the embalmer and finally the sem-priest. They support an oblong sarcophagus which is placed on a funerary bed stylised as a lion. These men, although unseen, probably wear only a kilt. The two women, positioned one at each end facing the coffin, wear a slim white dress with shoulder straps. These would represent the goddesses Nephthys and Isis, the ones usually in charge of protecting the sarcophagus.

   Five caskets, with rounded lids, stand on a low stone pedestal. The first four (on the right) must be the cases for the canopic jars, containing the inner parts of the deceased. Each has an image of a seated character and to the left of each is a column of text identifying them as the four sons of Horus: (right to left) Qebehsenuf, Duamutef, Amset, and finally Hapy (this last name is only partially legible). Each text begins with "Words spoken by" and ending (at the bottom) with the name of "Menna". It should be noted, that in each case, the name of Menna has not been removed. To the left of these four caskets is another with a seated image on the front, but the text column is empty. At far left is also a similar structure, possibly an image of the tomb entrance, to the left of which stands a ritualist carrying a scroll of papyrus in his left hand, probably reciting a sacred formula.

   Behind him, two men pull a wooden sledge. This supports a small multi-striped chapel with a cornice top. On top of this is a funerary bed, again in a lion form, and a nao-form canopy. This would have been transported across the river on a boat.

   The remainder of the sub-register, on the left, is occupied with even more boats, all of a papyrus construction, floating an the symbol of water. Immediately behind the scene just described, stands a man facing and touching the first craft. This is occupied by two men and an even larger chapel than the one on the sledge and this time it rests on a bed. The two men at the ends of the craft face in opposite directions. To the left, the boat is being moored to a stake by a woman, whilst three men also secure the following craft to the same pole. This following craft, which is on a stretch of water shared by another at its rear, contains a tall stela with a curved top.

On either side of the stela sits a woman dressed in white, with her back resting on the stone.
In the last skiff are two seated men. The one at the front is dressed in a white garment which covers all of his body, except his head. The one at the rear wears only a short white kilt. He holds his left hand to his chest.

Upper sub-register. Starting again at the right-hand side:

   Here are found three papyrus craft. At the front of the first one sits a woman dressed identically to the two in the next-to-last boat in the sub-register below. Behind again sits a man dressed in a white kilt who holds a dish, on top of which is a heart, in his left hand. In his other is a leg of an animal, with which he appears to be steering the boat. In the next craft is another tall white stela with a curved top. This time it is held upright by two standing women in a slim white dress with a single strap. They each wear a white scarf on their head. The rear of the third craft has suffered damage, which has almost removed the helmsman. At the front are seated first a woman, dressed like the two in the preceding craft, and a man in a white kilt. Immediately behind them stands another man in a short white kilt, with his left hand to his chest. The cargo of this craft is a large chest, black at the bottom but a more decorated upper part.

   Immediately after the damaged area, a man stands in front of a casket. However, only the bottom part of his body and the casket have survived (see ).

   Behind the man are six more caskets. These again have round lids and are decorated with coloured stripes, all except the third from the right, which has an interior cross-hatch pattern. The first and last have suffered damage, as has the man who approaches them from the left, only his legs and and part of his head has survived.

   Immediately behind him is another papyrus craft. At the rear of this sit two men, yet again totally enclosed (except for the head) in a white garment. At the front are the lower remnants of another man (see ).

   Finally, the sub-register ends with a scene of slaughter and sacrifice of an ox. The animal lies on its back, rear legs tied, on a reed mattress. At the rear (left) is the officiating priest, holding a papyrus in his hand, probably reciting a sacred formula. In front of him, another priest, his kilt supported by a strap over his shoulder, pours a stream of water onto the animal from a vessel. The only butcher depicted cuts off the right foreleg of the animal.

East side of the wall - upper register

This upper register has, at its west end, the standing image of Imentet, the goddess of the west (the underworld). The large area in front of her is divided into two sub-registers.

Imentet wears a tripartite wig, around which is a white ribbon and standing on top is a falcon symbol, the ideogram of her name. Normally the falcon is displayed on top of the symbol of "west" (see ). There is frequently confusion between this goddess and the goddess Hathor, with whom she shared the role. Gradually Hathor supplanted Imentet from the New Kingdom onwards. Imentet never had her own cult, but offerings were made to her in tombs, as in this one.
Here, Imentet wears a slim tight fitting white dress, reaching down to just above her naked feet. The dress is supported by two straps extending over both shoulders. She is adorned with armlets, bracelets and a necklace. In her right hand, she holds in front of her a was-sceptre, whilst in the other, which is at her side, she holds the ankh-sign. She faces the two sub-registers, filled with a procession which heads towards her. In sequence, the lower one comes first, as this includes the crossing of the Nile.

Lower sub-register Starting again at the right-hand side:

   Cows, a herdsman and ten men. Immediately approaching Imentet are two pairs of cattle tied by the horns, three different colours, two of them being white. They are under the control a herdsman who holds a stick. Behind him, ten men walk together in pairs, each hold the rope which is attached the horns of the cattle. All the men, including the herdsman, wear a white kilt.

   Area of lost detail. The following section now contains two areas of damage, one of which only affects this sub-register and a much larger one beyond it, which is the upper part of that which effected the bottom register. These make it difficult to identify the action taking place. At the time of discovery (the beginning of the 1900s) it was apparent that the right-most one had been deliberate damage (see the old photograph, left). This contained one or more characters, since then this area has been damaged even more (see and left side of the colour photo above), even damaging the rearmost pair of men holding the rope. Behind the lost image stands a man followed by a woman. The extended damage has removed part of his figure, but the large area of damage behind them has also become greater, removing most of her image (again see ). The man was enveloped in a white shroud and held staff in front of him with both hands. The woman was wearing a slim white dress with two straps over her shoulders, her hair being covered by a white scarf. Also lost behind the woman, is what remained of a chest, possibly portrayed on a boat on water. At the far (left) side of the large damaged area was the image of a several men, dressed differently, carrying on their shoulders a model of a boat with a chest on it. This has also been lost by the damaged area now being larger. The extent of the area can be seen in the image below, of the next scene.

   Two youths and eight men. As can be seen from the photograph, this scene has another large damaged area beyond it. At the front are the two youths, each carrying a large white stoppered vessel on his shoulder. Behind, in two groups of four, are eight men. They each hold a long staff of authority, with a forked upper end. They all wear a short white kilt with a long semi-transparent one over it. Alternate men wear a short-sleeved vest. The large damaged area behind them makes it uncertain as to whether any others followed them.

   The sub-register ends with boats on water. Two different craft designs are included, three in front (on the right) and a single one behind. The first three are very ornamented craft, overlaying each other, the design of the nearest being easily seen. The front parts of the boats has disappeared due to the damage. At the rear of each is attached a very large ornate rudder, painted with a lotus flower design also found at the stern of the craft, also on the blade are prophylactic eyes. The craft has a very decorated cabin. Several men, standing with their backs to the direction of the journey, are the oarsmen. A rope connects these craft to the one behind, which is held by a man on board this rear one. This is of a very elaborate papyrus design, with a large umbel at back and front curled inwards onto the boat. Painted on the prow is another eye. On the deck is a large rectangular structure, besides which squat three female figures, portrayed in a mourning attitude. At the stern is the pilot, in control of the double rudder, whilst at the prow, another man assists him by raising an arm as a command.

Upper sub-register Starting once more at the right-hand side:

   Two groups of cattle and drovers. The long parade pictured in this sub-register begins with two pairs of cows. The first pair are a red one and a black one, the second pair consist of one black and one white. Each pair is controlled by a herdsman wearing a white kilt and holding a stick in his hand. Each men wear a white kilt. The rear man, going bald, must be the elder of the two. The cows are probably meant to provide the deceased with milk in the afterlife. The horns of each pair of cattle have ropes stretched across them.

Twenty-five porters.

This is an extremely long parade of porters who are carrying an extremely wide variety of goods to accompany Menna in the beyond.

The men all wear the short white kilt. Most have a black wig, but eight are bold, but, because of damage, the last man (on the left) could be either bold or have a black wig. The items they carry are nearly all held by individual men, several of them carrying more than one. The items include: several chests, two shabtis on a table, several other tables with various items on them (including: vases, fruit, loaves of bread, etc.), flowers, a chair, a bed (carried by two men, with a small man carrying a chest below it), a pile of clothes, a large stone vase, sheaths of papyrus and bouquets of lotus flowers, a fan and even a bird held by its wings.

West side of the wall - bottom register

This register displays four offering bearers and one who attends several altars which are on fire. They are all dressed in a white kilt.

   On the right, a man places an offering onto the first of four altars. The first three are identical, and are comprised of a central stands with bowl shaped tops. On these are a variety of offerings: breads, ducks, cuts of meat, haunches of meat and fruits; flames leap from the top of each. Standing upright at the sides of them are red dishes, on top of which are large white pointed breads decorated with a garland and flanked with green plants. The altar on the right is of a different shape, being wider and not in the form of a stand, perhaps an oven.

   On the left, the four offering-bearers bring other things for the altars. In front of the first is a stand piled with fruit. This first bearer carries the head of an ox, the next has two ducks, the third a duck and two pointed breads, and the last man has a stand with more fruit (similar to the stand in front of the first man).

West side of the wall - main upper portion

This is the main focus of the wall, where Menna must now be judged in the ceremony called "the weighing of the heart".

   This takes place before Osiris, the god of the dead, who is shown at the end of the wall. He is identified as "Osiris-Wennefer, Lord of the Sacred Land, the great god. Lord of Eternity" and is enthroned in his neo-form pavilion which rests on a plinth with a sloping front, the Ma'at (truth) symbol. Osiris is seated on a solid chair with a padded backrest. The chair and Osiris' feet rest on a reed mat, which then rests on white structure with dark grey markings. His green flesh is enveloped in a tight fitting white garment, from which emerges his head and his hands which hold the royal sceptres, crook and flail. He has his usual false beard and wears the white atef-crown. Around his neck is a blue collar with a multicoloured counterweight, which hangs down his back.

   Menna stands to the left of the scene, in the respectful attitude, with his right hand on his left shoulder and his other grasping the forearm. He is dressed in a long semi-transparent garment over the usual short white kilt, which overlaps at the front. He is barefooted and he wears no jewelry. His face has been deliberately damaged. Eight columns of text surround him, stating: "The scribe of the estate of the Lord of the Two Lands, Menna (which is partly erased) , triumphant. He says: O my heart of (which comes from) my mother, O my heart of my mother, O my heart of my existence, do not rise up against me, with the keeper [of the balance] as a witness against me; do not be an enemy against me before the divine powers, do not cause a fall [of the scale] against me in the presence of the keeper of the balance, you who are my Ka which is in my body. The creator [the god Khnum] has made my limbs sound : come you forth [to] the happiness which we go to; pleasant it is for you, pleasant the hearing [on] the day of weighing of words." In front of him, facing him, are the two gods who perform the weighing and recording of the result, which is meant to evaluate whether the deceased is "justified" to enter into the realm of the gods, or whether he fails and is damned for eternity.

   The weighing. The lower image portrays the falcon-headed Horus, who adjusts the scales. On the trays of the balance are the heart of Menna on the left, and the effigy of seated goddess Ma'at on the other. Ma'at is the goddess of truth and often it is just her feather emblem that the deceased's heart is weighed against. If Menna's heart is heavier than Ma'at he has failed, and will spend eternity with the damned.

   The recording. The second god, seen above, with the head of an ibis, is Thoth, who, with the help of his palette and his reed writing implement, records the verdict of the judgement assigned to Menna.