East wall

(see )

Under the top frieze are two registers. The upper register has a depiction of the divine judgement hall, with the very classic scene of the weighing of the heart in front of the courthouse of the gods. The bottom register shows the very classic scene of the opening of the mouth, which takes place in front of the entry of the tomb. There is no middle frieze.

1) - Top frieze

(see upper part of and )

This motif occurs elsewhere, with Anubis, in the shape of a canine reclining on the roof of a chapel. On this wall he faces right, towards the entrance. He wears, as usual, a ribbon around his neck and a whip which extends from the middle of his back. Between each chapel are again two khakeru, the ancient plant motif, surmounted here by a solar disk.

2) - Upper register: weighing of the heart

a) - The courthouse and the balance

At the top, to the right, sit thirteen judges with Re at the head. Behind him sit Atum, Shu and Tefnut, Mont and Tjenenet, the next two are doubtful, then Osiris, Horus-son-of-Isis, Isis, Nephthys, and finally another dubious goddess.
Behind the them, Khonsu is squatting in front of offerings, maybe accompanied by his mother, but lost (except for a knee) in the damage. It would have been important to make the judges favourable!
To the right of the balance, can be seen Khonsu approaching in an attitude of humility, his left hand on his right shoulder, the other holding its forearm. He is followed by "His mother, the chantress of Montu, Tauseret" - and not of his wife. Then comes "Usermontu, son of Khonsu". From the balance, hangs one tray (left) on which is the deceased's heart, on the other is a small figure of the goddess Ma'at, against which the heart is to be weighed. Anubis, with the head of a jackal, who kneels under the balance supporting the balance weight, checks the result. The text states: "The guardian of the balance, Anubis, [he says]: 'Your qualities are satisfactory' ". This answer is noted by the scribe Thoth, with the head of an ibis, who writes this down. Also under the balance is the actual goddess Ma'at, whose image the heart was weighed against. As the result is positive, Having been proved to be pure, Horus-son-of-Isis, with a human head, therefore introduces Khonsu and his mother to Osiris (see ).
The text which is above the scene is a (poor) summary of some of the formulas used in chapter 125 of the Book of the Dead. Usually there are found in tombs of the Ramesside period more extracts from this book; perhaps the longitudinal corridor included some of the others, which have disappeared. Here is the proposed translation (difficult, but inspired by Davies) : "Words spoken by Horus-son-of-Isis by his father Osiris: 'The Osiris, high-priest of Menkheperrer, has come to ones for whom righteousness is upon his mouth and righteousness upon his hands. He never wrought wickedness (against) the great ones in this land, and transgression has not been found in him. He did what the king desired and that with which the gods are pleased. His heart has come forth justified. He has not been accused, he has not been found sinful. The great Ennead of the gods in the halls of Truth rejoice greatly over a just man who is declared just' ".

b) - Osiris

The god Osiris is seated under a painted lightweight wooden building surmounted with a frieze of solar cobras. He has green skin, colour of a decomposing corpse, but especially that of new vegetation. This is a reminder that these are the humours which flow out of the body during the decomposition of Osiris which constitutes the flooding, synonymous with the rebirth of the plants and of the justified deceased. Osiris is sheathed in a white shroud, wearing the atef-crown and holding, as usual, in his hands a was-sceptre plus his flail and his crook. Over a large golden necklace hangs a second one from which can be seen the counterweight hanging behind him. The end of the second necklace is rectangular in the shape of the facade of a palace or temple. Behind the god are his two sisters and defenders, Isis and Nephthys. Both are clothed in an archaic tight-fitting dress with shoulder straps, red for Isis and green (currently; but it could have been blue originally) for Nephthys.
In front of Osiris, the Four Sons of Horus, here all anthropoid, stand on a lotus flower. There is already a dedicated to them. A completely white area, in the top right corner, was intended to receive the text, but has remained blank.

3) - Bottom register: the opening of the mouth

a) - The tomb

(see )

The representation of the tomb and the coffins is very successful. With beautiful multicoloured closed lotiform columns sustaining a roof, on top of which is a pyramidion placed in front of the Theban mountain. The artist didn't forget to include in the pyramidion its sky-light, destined to receive a statue or a stela. Between the columns, the entry has been created in red, probably to imitate granite, with a bright yellow door.
Two enormous lotus bouquets rise on either side of a stela which carries a classic offering formula. The arched top shows the deceased in worship in front of Osiris. The text of the stela states: "Wishing to give an invocatory offering to Osiris, the head of the west, the great god, master of eternity, Lord of Busiris, to the head of Abydos, the sovereign of the beyond. That he gives breads, beers, birds, pure […?] which comes from sound […?] for the Ka of the Osiris, the high-priest of Menkheperre, the favoured one, Khonsu, justified, in joy".
In front of the stela stand two beautifully made golden sarcophaguses (see ). In the foreground, although positioned slightly behind, can be seen the sarcophagus of a woman and next to it is that of a man with his false beard. Due to the lack of descriptive text, it is quite possible that this last one contains the mummy of Khonsu, it is also uncertain if the woman is his first wife Ruia, or his omnipresent mother. Indeed, it cannot be Mutia, since she is standing in front of the coffins, moaning, identified as: "His wife, the chantress of Amon, Mutia". The other mourner, who kneels on the ground, is "His daughter, [the chantress] of Amon, W[ia]y".

b) - The officiating priests

The first two priests each make a libation of water with the help of a vase. They hold to the mouths of the mummies two implements, used to perform the ceremony of the "Opening of the Mouth". The "lector priest of Menkheperre, Khaemwaset", is going to touch the mouth of the anthropoid coffins using the ivory adze (a "wr-HkAw") in order to open it. The other is the "lector priest of Menkheperre, Khay" pronounces the classic formula of purification whilst holding the Heru, a spooned-shape implement for offering incense.
Behind the two officiants is a chest with, represented above it, its content of instruments and necessary items for the ritual.
Behind the chest, is "His son, the high-priest of Sobek, Usermontu, justified", who reads, what can easily be seen inscribed on the papyrus which he holds, the formulas "To do the opening of the mouth for the Osiris, the high-priest, To".

c) - The people who mourn him

The right-hand side of the wall is very damaged (see ). The group of mourners include six "mourning women, who weep", two are pictured lower than the four grouped together, one kneeling and one leaning forwards. These are followed by four men, arms raised above their heads. The text mentions "the wab-priests and lectors of the temple of Montu, Nebamim and Usermont", both are sons of Tentiunet; "their father […] Raria, the wab-priest of Montu, Pashed, son of Maany". These are then followed by two more women, with hands raised to their heads, these are wrongly named "the charioteer, Raria" and "the high-priest of Sobek, Usermontu".

d) - The procession

Chronologically, this precedes the events which have just been seen. Very little has survived: the heads of six (2 rows of 3) hauliers, and the mutilated image of the sledge on which rests the bier of the corpse, in front of which (left) is a priest pouring a libation of milk: "To make the purification in front (of the cortege?) ", whilst repeating four times "doubly pure".

e) - The cow and its mutilated calf

There is a scene which raises the question of the love of animals which is frequently attributed to the ancient Egyptians. The ritual of the opening of the mouth foresees the presentation of a young cattle leg (the "khepesh") before the mummy, in the form of the ivory adze. In order to do this, the small calf seems have been amputated, whilst alive, under the knee of the right leg, in a way this is the "hand" of the young animal. The paw lies on the ground, whilst the stump bleeds. Nadine Guilhou thinks that it represents a metaphor representing the ablation of the hands of Horus by his mother in the tale of Horus and Seth. The reality of such a ceremony, which had to (without anachronism) appear barbaric, even to the Egyptians of the New Kingdom, remains under debate.

PASSAGEWAY TO THE LONGITUDINAL CHAMBER

This doorway in directly opposite the main entrance, in the centre of the west wall of the first chamber. In photos and , it can be seen that the periphery of the doorway, which is slightly inset towards the passage, has lost the decoration of the side jambs completely. However, the decoration of lintel has survived. Inside, the two side walls of the passage have also been nearly lost, but the ceiling has survived. The recessed area created by each side jamb is approx. 15cm in width. The actual passage is approx. 0.8m wide by 1.30m in depth and 1.5m in height.

1) - Entrance lintel

(see )

The decoration is symmetrical from the centre, although the two scenes are slightly different. It is overhung by a large sky sign , part of the original blue colour still exists.

a) - Left-hand side

(see )

The solar god Re-Horakhty is seated, his falcon head surmounted by an enormous solar disk surrounded by a cobra. Behind him is Anubis, whose head has disappeared. The text above them states: "Re-Horakhty, lord of the sky, lord of eternity. Anubis, who is the embalmer, the great god, lord of the Sacred Land". In front of him, Khonsu makes an incensement and libation, accompanied by the text: "Offering all good and pure food to your Ka, 0 living god, for the Ka of the high-priest of Menkheperre, Khonsu". He is followed by "The mistress of the house, the chantress of Amon, Maia, justified" who waves a Hathoric sistrum. At her side is a small daughter. Finally, At the rear is "His son, the second priest of Menkheperre, Khaemwaset".

b) - Right-hand side

(see )

This time the seated god is: "Osiris, who is at the head of the Westerners, the great god, lord of the sky". The goddess who watches over him is: "Isis, mistress of the sky, ruler of all things for eternity". She wears on her head a mortar on which has been placed two lyriform horns framing a solar disk. At the front of her head is a uraeus.
Khonsu stands in front of the gods, to whom he offers an incensement, accompanied (above him) by the text: "Praise to your Ka, Osiris-Unnefer, prince [of eternity] for the Ka of the great priest of Menkheperre, Khonsu". Behind him again stands a woman and a young man, but the accompanying text has been modified, which has resulted in the disappearance of her name. This was probably his mother Tauseret, followed by "the overseer of the horses of the lord of the two lands, Usermont".

2) - Passage ceiling/soffit

(see )

As can be seen in the image opposite, the design is perfectly symmetrical. The motif is formed of white squares (the white has yellowed with age) delimited by red lines, with a motif formed of blue clusters of grapes alternating with vine shoots represented by red lines. The design area is surrounded by a thick yellow band with a white edging and a red line (see ).

3) - Passage north wall

Here, only a small upper portion has survived a small section of the frieze (right side of ) as well as some columns of text: "… His son, [the high-priest of] Sobk, Usermontu. His mother, the greatly praised of the lord of eternity, the chantress of Montu, [Ruia]".

4) - Passage south wall

All that survives here are the feet of a priest followed by those of a woman and a man; they face outwards. Davies found fragments which appear to have belonged here, of an important scene, because it contains the name and titles of a vizier: "… high-priest of Ma'at and mayor…" to which should be joined certain fragments a tall representation wearing the characteristic dress of the office, including a baton (see ). Considering what has already been seen, this choice location cannot be occupied by anyone else other than the famous ancestor, vizier Usermontu. Some fragments of original titles can also be read: "… divine father, beloved of the god, who [is informed] of the secrets…".

When standing in this passageway, it is very apparent that the longitudinal chamber, which will next be entered, is almost empty of decoration. Originally it is apparent that the walls were fully decorated but now include only a few fragments, however, the ceiling decoration has survived.