The chambers of upper cult chapel, which although currently closed to the public, were originally the only ones open to the family and friends on the occasion of the religious festivals. They were created as a memorial to the deceased, to record and identifying him by his activities and the political and religious status he held within the social community during his lifetime. The burial chamber, inaccessible after the funeral, had the function of preserving the mummy and to provide the deceased with his funerary materials, in a secret, inaccessible and sacred space. The surface chapel was the location for the cult to the dead and the place to which the offering gifts were presented.
Originally these upper chambers were fully decorated, some of this is no longer there, lost through damage over the millennia. All of the cult chambers have been, for several years, under restoration and conservation. As stated previously, they were used for habitation by both humans and animals during the later history, thus the walls and ceilings were blackened with soot and organic waste. This is slowly and painstakingly being removed. Because the work is still on-going, full photographic or line drawn documentation is not yet available. However, a reasonable description of the artistic content, with what is currently available, will be attempted in order to give an insight for all those who patiently wait. Each chamber description includes an annotated plan with as full a description of the content as possible.

The chapel consists of four chambers. The first of these, after entry from the courtyard, crosses the east to west axial direction to the rear wall of the final chamber. This transverse hall is divided into two equal north and south annexes. The next, lying along the entry axis, is a longitudinal corridor slightly less in size than the previous chamber. Finally the main hall is reached, which is almost square in section and supported by four pillars. The rear wall of this main chamber has three inbuilt cult niches. A small, single pillared annexe is located off the north end of the eastern entry wall of the main chamber.
Currently no exact measurements are available, so only approximations are given.

The entrance from the courtyard, approx. 1.5m wide by 2.0m in length, now has no decoration, although almost certainly did originally. This leads into the antechamber of the cult chapel, the place where the images of the deceased are portrayed in social activities; he was after all, a prominent character and easily identified. As expected, the imagery was meant to impress those who came to celebrate his life and bring food offerings for his afterlife personification.

The ceiling height, like that of the two following chambers, is approx. 4 metres above floor level. The chamber is about 2.6m in width (east to west), and about 15.0m in total length; the whole being divided into two equally sized bays of 6.5m, by the doorways of the passage from the courtyard and that of the longitudinal corridor.

All the walls are topped with the frequently used khekher frieze. The lower dado area, below the scenes and extending to floor level, is approximately 1 metre in height. Although frequently painted black, it appears that here it had been left undecorated. Separating the lower edge of the scenes and the dado are the usual red (top) and yellow bands, edged and separated by narrower black bands. A narrow band of coloured rectangles, with blue edging (an Egyptian frieze) extends down the outer edges of the individual walls and also separates the image area from the khekher frieze.

Immediately facing the entry from the courtyard, this wall is divided by the entrance to the longitudinal corridor. On either side of the entry, and illuminated by the light from outside, are representations of two royal kiosks. Inside each, seated with his back to the doorway of the corridor, is the figure of the king, on a gold painted background. This enforces upon the visitors, who came for the annual celebration, that Sennefer was a close friend of the sovereign. The two scenes have suffered greatly over time, but their original quality is still obvious.

The left (south) side of this west wall, beyond the kiosk and facing it, is the standing figure of Sennefer holding in his hands two sacred staffs of Haroeris (Horus the elder) and probably of his consort goddess Tasenetneferet Hathor, tutelary divinities of the Qus region, from where Nu, the father of Sennefer, came.

Behind him are several registers filled with a vast array of goods, already identified in the text as being "gifts of the new year", which are presented by Sennefer to his king. These include, from the top, several offering tables pilled with what appears to be grains. The following registers include a white stela and sphinx, various vases, ostrich feather fans, various statues of the king and a golden one of possibly the king's mother (queen Meryt-Ra Hatshepsut). The bottom register is lost and also part of the one above it.
The text above Sennefer states: "Words spoken: 'Presenting gifts for the New Year, the beginning of eternity which reaches unto infinity, and all kinds of beautiful dedicatory gifts which he has presented to his Majesty on behalf of the life, prosperity and health of the lord, by the prince and count, great confidant of the lord of the Two Lands, praised one of the good god, who does things of benefit for his Horus in the course of every day, the Mayor of the Southern City, who carries out the government of Thebes, overseer of the cattle of Amun, overseer of the granaries of Amun and overseer of the orchard of Amun, Sennefer, justified.' ".

To the left of these registers stands another figure of Sennefer, directly in front of a large and detailed image of the garden of Amun. This time he holds in his hands a complex offering, comprised of two large floral bouquets supporting a colourful display between them. He is offering the fruits of the harvests of the garden to his sovereign.
This time the text states: "Presenting the perfume of the marshes and flowers, and offering all kinds of plants from among the finest of the orchard; that which which his Majesty has created anew for his father Amun-Re, Lord of the thrones of the Two Lands, on behalf of the life, prosperity and health of his Majesty. It is the prince and count, overseer of the granaries of Amun, overseer of the calves and overseer of the gardens of Amun, Sennefer, justified, who presents all the choice plants of the garden to his Majesty in the course of every day, in order to offer them to the temple of Amun every day.".

The garden is one of the two responsibilities chosen for representation on the west wall. This is the one of "inspector of the gardens of Amun"; the other appears at the northern end, and represents that of "inspector of the granaries of Amun".

Today this garden image is in a very poor state, due to attempts at cleaning carried out by the early Egyptologists, who washed the colours and the soot further into the gypsum plaster, thus making it difficult to restore the quality, but not impossible, as can be see from this of buildings and grape vine. Fortunately it was copied by Rosselini in the nineteenth century (the image above gives both the current state and an overlay of the copy).
The design is in the usual Ancient Egyptian perspective, with the doorways, buildings and trees, etc. appearing as if laying flat on the ground. Also, it is certainly not drawn to scale.

The garden is surrounded by a wall (presumably of mud bricks) topped with rounded tiles. The main entrance is on the right-hand side, accessed from a canal, the front facade being lined with trees. It is worth noting that the represented size of the main entry indicates the fact that it would have been impressive, but it would have faced the canal and not in the direction indicated. This impressive door is also surrounded with text, which includes the names of Amenhotep II, and at the top is a large winged symbol. Two small doorways also give access to the inner structure, positioned along the lower part of the facade. It is possible that the original artist forgot to include the two small doorways giving access through the upper part.

Having gone through the main entry, the visitor would have passed through the large courtyard shaded with vines. This could have been what the artist was representing on the ceilings of the lower burial chambers. At the far end of the shaded area was probably a single-storey house, although this is difficult to imagine from the artist impression (see left). The entry would have been made through either of the two doors of the bottom section. This section shows the brickwork of the exterior walls and two windows with central supports and balustrades. The three rooms shown above this were probably located at the rear, and possibly situated one behind the other.

The main garden area, which lies on either side of the central courtyard and house, is laid out very symmetrically, with rows (possibly avenues) of trees and bushes of various kinds. The areas to either side of the main avenue contain two artificial ponds (four in total). Each pond has ducks and lotus blossoms, and is surrounded by a swamp area and papyrus. Two ponds, nearest to the house, are each overlooked by a shaded pavilion. Several small doorways give access to various walled areas of the garden.
On a pleasant sunny day, or a cool evening, a stroll round this garden would have been wonderful; perhaps improved by partaking of a bunch of grapes.

Below all the imagery mentioned above (the garden with Sennefer and the offerings with Sennefer) is a single register, located directly above the colour bands separating the dado area. This contains, at the garden end, a scene of pressing grapes, extending only part way under the garden. It continues with a variety of porters of offerings progressing towards the king. This register, which has now almost disappeared, may have extended under the king's kiosk, but this fact is at present uncertain.

This end of the wall is in very poor condition in comparison with the southern part. The centre section is lost, and only the upper sections of either end have survived. It starts, like its southern counterpart, with an image of the king in his kiosk, again with his back to the entry to the next chamber.

As mentioned previously, the scene at the northern end represents Sennefer's responsibility of "inspector of the granaries of Amun", and was copied by Davies at the beginning of the twentieth century. To ease confusion the drawing did not include all the grains of corn created by the artist. One or two areas indicate what this was like.

What remains of the scene shows that it consisted of enormous pyramids of grain, enclosed on three sides by a double outer white walls, the space between which was filled with grain. The area is shown as an open space, entered, from the left, by an ornately decorated doorway which includes the titulary of Amenhotep II. From this extends, inwards, a stairway with a narrow retaining wall on either side. This in turn led to a raised central walkway which extended to the far end of the area. The stairway is bounded by two snakes (possibly painted on the side walls), perhaps representing those which hunts rodents living in the granaries, possibly one of the forms of the goddess Renenutet, as protector of the harvests.
The enclosures to either side of the central walkway are further divided horizontally by two paths, seen passing between mounds of grain. On the upper side, one half the corn is stored in round topped piles, whilst in the other it is piled in pointed stacks. On the lower side only the pointed stacks can be seen, whilst the upper half contains the images of two scenes of butchery, but no rounded mounds. The artist has used a darker colour for the grain used to edge the piles in order to highlight them. The whole area is strewn with yellow corn, the total effect produces a very yellow scene.

To break the monotony, the artist has introduced two dom-palms, which are placed non-symetrically, one in the upper area and one in the lower. The lower part of the granary includes a booth containing jars and plants, perhaps a shelter and drinks for the workers.

It is also possible that the granary was intended as a background to the other function of the scene, that of the celebration of the harvest, shown by the presence of the king offering incense over burning offerings to the gods for their support. The king appears in a booth, which is erected on top of one of the piles of grain. The altar, situated on a "high place", is reached by a solid flight of steps by which three attendants bring supplies towards the king. The two butchery scenes probably belong to this celebration.

All that remains of the area between the granary and the king's kiosk are some trees at the top corner, just outside the granary. It is possible that at the far left-hand side stood Sennefer, facing the king, either making offerings from the grain store or presenting his report of the harvest. Perhaps from the granary entry a central path progressed towards the king and Sennefer through an ornate tree planted area.

As on the south section, and missing today, a single register almost certainly extended along the bottom of the decorated area. It would also have shown a variety of porters of offerings progressing towards the king.

It should be noted that the two scenes at either extremity of the west wall were copied by early Egyptologists, well in advance of the recent epigraphic survey of the cult chapel by the M.A.N.T.

At either end of the chamber, the north and south walls each contained a stela and scenes of offerings. The condition of these two walls is currently poor, but this may improve by the efforts of the conservation team.
At the south: at the sides of the remains of the stela, are three registers of offering-scenes. Part of texts of a scene on the stela depicts the owner at prayer: "Prince and count, mouth of the king of Upper Egypt and ears of the king of Lower Egypt, favourite of the good god, Mayor of the Southern City and overseer of the granaries of Amun, Sennefer, justified".
At the north: the stela has a double scene above it. On the right half, Sennefer's daughter offers bread to the deceased and Senetnay. The text reads: " 'Pure bread of the temple of Ptah for the ka of the Mayor of the Southern City, Sennefer, justified', says his daughter, his dearly beloved Nefertare". At the sides, are the remains of offering bringers and offering scenes.

This wall, divided by the entry from the courtyard, has also suffered from the affects of time, being poorly preserved. On either side of the entrance doorway, are scenes of offerings to the divinities of the necropolis and to the rising sun.
On the southern side the deceased with Senetnay make offerings on braziers to 'Amen-Re of Karnak'; the text reads: "Making an offering of choice foods on a brazier with myrrh, incense and all good and pure things to Amun, lord of the thrones of the Two Lands, in the course of every day on behalf of the life, prosperity and health of the king of Upper and Lower Egypt, Akheperure, given life. Prince and count, excellent confidant of the lord of the Two Lands, who does not force aside that which has been told to him, the overseer of the granaries of Amun, overseer of arable lands as appertaining to the records department, overseer of the calves and keeper of the cattle of Amun at Djeser-djeseru, Mayor of the Southern City, Sennefer, justified.".
On the north they again make offerings on braziers, but this time to Osiris Onnophris. The text is however unreadable.

On the south side the wall (of which most is lost) is divided into two registers, the bottom one being again sub-divided into two.
In the upper-most are seated Sennefer and Senetnay, however the identifying text for the wife has her name incorrectly spelled. Her text reads: "His dear "sister" (actually "wife") , the great nurse who nurtured the divine person, Senetnay (incorrectly written Senetem-iaH : ").
The image seen on the right shows the effect of the renovation work being carried out, Senetnay having been partially cleaned.

The lower sub-registers include offerings and porters bringing offerings towards two couples, who actually face the entry from the courtyard. One of these couples has been identified as the parents of Sennefer.

Away from the offering scene near the entry, the wall is in a very poor condition. However, at the northern end are the remains of a banqueting scene. Servants attend seated couples who represent friends, colleagues and family of Sennefer and Senetnay. The information from what survives was important when recreating the family tree of Sennefer.
The wall is again divided into two registers and the lower one again sub-divided. The uppermost of the three (being about the height of the combined two below) has the seated Sennefer and Senetnay, facing in the direction of the entry. Very little has survived of the couple or the what appeared in front of them. Beneath the chair of Senetnay can be seen an with red stripes playing with tray of food situated in front of it.

In the upper of the two sub-registers, starting at the left-hand side, are the attended by a servant. The text above his parents reads: "His father, the second prophet of Horus, lord of Qus, Nu, justified. His mother, his beloved Henutiri, possessor of the blessed state.". A seated figure, situated immediately in front of Sennefer's parents, is unidentified; the columns placed above him are blank.
In front of this group are thought to be the parents of Senetnay, however not enough text survives to positively identify them.

In the bottom register are several pairs of seated guests, each attended by a servant. Once again the columns created for their identity remain empty.

This has three plain bands running along its length with the remainder filled by a simple geometric pattern. The text bands contain titles and a favourable description of Sennefer: "Prince and count, seal-bearer of the king of Lower Egypt, great in the palace, 'life, prosperity and health', important one in his office. favourite of Horus in his palace, whom the king has advanced because of his devotedness, whose excellence has created his position, who acts rightfully for his lord in the course of every day, Mayor of the Southern City, Sennefer, justified. High in favour and great of love, he with whose character the lord of the Two Lands is content, a truly upright man in the presence of his lord who does things of benefit for the lord of the palace such that he is efficient in respect of the king, Sennefer, justified.".