Concluding this chamber with the description of the other two walls.
The scenic area of this wall is rather unevenly divided. Off-centre, to the left, is a large scene of fishing and bird hunting in the marshes, this however does not occupy the full height of the area. Beneath it, and extending all the way to the right-hand edge, is a procession of offering bearers. The top right-hand side is divided into two registers, The lower one being further sub-divided. The upper one portrays the pilgrimage to Abydos and below it (mostly in two sub-registers) is the ritual of the opening of the mouth. At the far left are two scenes, one above the other, where Menna is seated with his wife.
This actually takes up over a quarter of the width of the wall, with its right edge approximately half way along the wall (see the b/w image above). It takes up the top three-quarters of the decorated height of the area. The theme of the scene is classical and can be found in many tombs dating from since the Old Kingdom. In the New Kingdom, however, it is always composed of two hunting activities, the capture of birds by use of a throwing stick and fishing with a harpoon. There is no accompanying text, columns were created on the right-hand side, surrounding Menna's head. Thus none of the participants can be named with certainty; but from the many other tombs where texts exist, their identity can be assumed.
Although the two activities are different, they are portrayed as almost mirror images. In both, Menna stands in a papyrus boat, but the prow is different in each case: the right-hand one is in the form of a lotus button, the one on the left is an open bloom, the stern of both is also an open bloom. Standing behind him in both is his wife, Henuttawi, although with no descriptive text this is assumed, because this is who should be there. Who else accompanies him will be described below, but again by assumption.
Right-hand scene, fishing. Menna leans slightly forwards, holding with both hands a long harpoon, with which he has speared two large fish. He wears a heavily pleated white kilt, which overlaps at the front, and a long semi-transparent over-garment over it. He has a broad multicoloured necklace and bracelets on his wrists. Standing astride, his left foot (at the rear) is raised on its toes, which emphasises his action. His face has been deliberately erased.
His wife, whose figure has suffered damage (but not to her face) wears her usual long white dress. She can still be seen to have a broad necklace and arm jewellery. Her gold earring is just visible protruding from her black wig which is held in place by a decorated band, with a lotus button at the front. She physically supports her husband with her right arm, which passes behind him. In her left hand she holds three lotus flowers, a bloom and two buttons.
Between Menna's legs, kneels a young woman, probably one of his daughters. her face has also been destroyed. She is dressed and adorned as her mother. With her right hand, she holds her father's right leg, whilst with the other, she holds a single lotus bloom.
Standing at the front of the craft is a young man, probably one of his sons. He is clothed in only a short white kilt, his head is shaven. In his left hand he holds a duck, in the other he has a lotus flower.
Left-hand scene, bird hunting. Here, the arrangement is slightly different to the one on the right. Menna is in the same stance as before, his rear foot raised onto the toes. He wears the same garments and jewellery. Once again his face is missing. In his raised right hand, positioned behind him, he holds a throwing stick for striking the birds. In his right hand, raised in front of him, he grasps the legs of two water fowl; perhaps these are used as bait.
Again his wife stands behind him, face complete, with her arms raised in a position of worship. She also wears the same as previously, except that this time she has a perfume cone on top of her black wig. Hanging from her left elbow joint is a bouquet of lotus flowers.
At the front of the craft is another youth, slightly taller than the previous one. His head is turned towards Menna. In his left hand he holds the wings of three water fowl and with the other he appears to point into the tall reeds, possibly to indicate the position of more birds.
Between the legs of Menna is another girl (see ), but this time she is naked, except for a coloured belt around her waist and the multitude of bangles on her arms. She bends over the edge of the craft towards the water, from which she extracts a bud of a lotus flower with both hands.
In this scene there is an additional passenger, another girl, on the craft, almost certainly a daughter. She stands behind Menna's wife and although her feet face towards the wife, her head is turned in the other direction. She wears a slim fitting white dress and has thick round earrings, armlets and bracelets. Her black wig has braids at the lower edge and is held in place by a white headband. In her right hand she holds three ducks by their wings and in her left she has lotus flowers, with several also suspended over her left arm.
Above this last young woman, at the top left of the scene, is represented another (see ). This one is kneeling on a reed mat, holding lotus flowers in each hand. She is also dressed the same as the one below her and also has braided hair.
The central area and actual water level. A narrow section of the papyrus marshes is shown between the two craft. At the top, on the umbels, can be seen several nests containing eggs. Also, both standing and in flight, are several birds including an ibis. A striped cat and a brown weasel, head towards the nests and the birds. Amongst the birds can be seen two butterflies. Several of the birds have already been hit by the throwing sticks (which can be seen) from Menna.
The marsh water, at the bottom of the scene (see the top of for full length view), is full of life. Between the leaves and lotus flowers, which float on the water, are several species of fish: perch, mullet and tilapia. Some birds are also found here, in search of food. There is even a crocodile, seen with its open jaws, which gets ready to devour a fish. Protruding from the central area, the water is displayed as rising into a bulge (which is also typical of this scene in other tombs). This bulge includes the two, beautifully imaged, fish being speared by Menna from the craft on the right. These fish, as usual, are shown in an upright position.
This procession of porters of offerings begins below the marsh scene, and extends to the right-hand side of the wall. In total it consists of nine men, then eight women and finally another seven men.
At the front (left) is the calf, the neck of which is decorated with a lotus flower. This animal, which is destined to be slaughtered, is controlled by a herdsman whose white hair indicates his advanced age and he wears a kilt which reaches down beyond his knees.
He is followed by eight more men, all wearing only a short white kilt which overlaps at the front. They bring, starting on the left: ducks (which have been destroyed), large goblets with lids, more ducks, a tray with fish from which hang bunches of grapes and papyrus stems, the next man carries a table piled with fruit and he also carries long papyrus stems, the next two also carrying long sheaves of papyrus, and the last one brings more fowl and sheaves of wheat.
The women who follow all wear white dresses with shoulder straps. The first seven each carry various shaped vases and also bunches of lotus blossoms. The final one carries a large bowl in one hand and a handled vase in the other.
The women are followed by more male porters all of whom wear a white kilt. Together they bring plants (long bundles of papyrus and lotus flowers) and a wide variety of containers. One of them again carries a table of fruits.
Bringing up the rear is another young calf accompanied by a herdsman. This time his hair is black and the calf has no neck ornament.
This scene represents the journey to and return from Abydos, the holy city of Osiris. Although the four craft appear on a common stretch of water, those on the right journey right towards the city, whilst those on the left make the return journey. All the rudders of these boats are decorated, at water level, with falcon heads.
At the far right are two white rectangles, which were possibly prepared to receive texts or images, but no detail was started.
The journey to Abydos, is a journey in the same direction as the flow of the river current, thus no sails are required, only a method to manoeuvre around obstacles and areas of shallow water.
The first boat tows the other, although no connecting rope is visible. This vessel is of a wooden construction. On the deck is a large central cabin with several items of funerary equipment on the roof, including a small table of offerings, a bed with its head rest, under which is a pot of eye makeup, a mirror and a box of toiletry. To the left of the bed is a red container and a fan. The pilot stands at the front, inside his control box, from where he indicates to the helmsman (only just visible at the rear) the presence of things to avoid them. To test the depth of the water he holds a long pole. The six oarsmen, whose oars seem to have been omitted, await their orders.
The second craft is made of papyrus, on the deck of which is a canopy, the top of which is decorated with floral garlands and a red roof. In this are seated Menna and his wife, shown in a mummiform appearance, his face has not been destroyed. In front of them is a simple table of offerings. Menna holds a flail, whilst his wife breathes the perfume from a lotus flower. At the front of the craft stands man holding a long white rod, whilst at the rear the helmsman holds the rudder.
The return from Abydos, is indicated by the expanded sail (needed to travel against the current of the river) of the leading boat on the left. Menna and his wife have paid homage to the god of the dead, Osiris, and now return to the west bank at Thebes.
Aboard the leading boat, again built from wood, a sailor stands on one of the yard-arms. The whole boat is better decorated than the one progressing to Abydos (is this the same boat?). The rowers are seated but inactive and now there are eight of them. A man leans over the edge of the boat towards the water, holding a container in his hand, probably trying to get water to drink. As when the boat travelled to Abydos, a man stands in an open cabin at the front with his depth probe; he again faces the helmsman, who holds the large rudder with his arm.
In the papyrus craft, being towed by the one just described, Menna, again his face has not been destroyed, and his wife are once more seated under a canopy. Two sailors take care of the manoeuvres. The scene is almost identical to the one where they travelled in the opposite direction, although the top of the canopy has changed and the man at the front of the craft no longer holds his long white staff.
The arrival on the west bank would be a time of celebration. The quayside is represented by two super-imposed kiosks, protecting their contents from the heat of the sun. These are constructed of three papyrus columns supporting a colourful roof. Inside each are drinks and food. Foliage stems suspend from the inner roof, hanging between large amphoras placed on pink stands. Between the stands is a red dish with a pointed bread placed in it. The bottom kiosk has a lower level of four dishes of figs and grapes, placed below the shelf on which the other items stand.
Below the pilgrimage to Abydos are the scenes of the ceremony of the "Opening of the Mouth", performed on the mummy of Menna, or perhaps some may be that of his wife. This restores the vital functions of the deceased, before burying him inside his tomb for eternity. At the left is the magnificent black sarcophagus held by a priest, whilst the rest of the register (to the right) is divided into two sub-registers.
The major scene (left) originally consisted of two priests and an upright black sarcophagus between them. The one at the rear (again left) supports the sarcophagus, whilst the one in front would have performed the "Opening of the Mouth" ceremony. This
sem-priest has been destroyed, as have all the other actual
sem-priests, who would have been easily recognised by their leopard skin over-garment. The other priest is simply dressed in a white kilt with a long semi-transparent garment over it. The coffin of the deceased is black and bound with yellow bands. In front of it stand four very tall leafy stems of papyrus, the umbels of which extend above the top the head of the coffin.
The upper sub-register. This is comprised of eight scenes, all separated by a vertical line, and containing outlines for columns to contain texts, where none in fact have been entered. The sub-scenes all contain an upright mummy, on the left, with a mask on the head and the body wrapped in a white shroud. In all but one scene, the fourth from the left, they all included a single priest. The image of any
sem-priest has been destroyed, those of the
wab-priest (identified by his shoulder strap which crosses his chest) have remained. The activities performed by the priests are as follows, from left to right. The first holds a dish filled with grain, but what he holds to the mouth of the mummy is lost through damage. The next is lost, but the third holds a leg of meat towards the mummy's mouth. Next is the scene with the three priests, the main one lost, so the action is unknown. The fifth executes the ritual with an adze which he holds close to the deceased's mouth. Scene six is unknown, but in seven, he recites a formula written on the scroll of papyrus he holds his hands. The final priest is again lost through damage.
The lower sub-register. This includes seven scenes. Here there are no separating vertical lines nor columns prepared for texts. They contain an upright mummy attired as in the sub-register above and the images of actual sem-priests have been destroyed. The scenes are again described from left to right. The first two images are of the ritualist placing something to its mouth. In the next image the priest is destroyed. The fourth has a priest, holding two long bands of white material, advances towards the mummy; he is accompanied by his helper. The priest is again missing from the fifth image. The final two scenes are different from all the others, although they do include an erect mummy with an officiant standing behind it. In the first of these is a character laid down on a bed which is of a lion shape, whilst the other is seated on a stool. The characters are wrapped in a yellow shroud. In both cases the headed has been damaged. These figures are referred to "tekenu" and represent a sem-priest in another form.
The content of this scene, and the one below are very similar.
Here, Menna and Henuttawi are seated on two different colour chairs, his being black, both resting on a reed mat. Both of their faces have been removed. Above the couple, the text states:
"May everything which comes forth in presence of all the gods which are in Neterkhert (the other world) be for the Ka of the scribe of the estate of the Lord of the Two Lands, [Menn]a." This is follow by:
"His sister, lady of the house, chantress [of Amon], Henuttawi.". Part of the name 'Menna' and the 'Amon' after chantress have been destroyed. Menna is clothed as in most of the other scenes and decorated with a broad necklace and arm bracelets. In one hand he holds the stem of an umbel of lotus from which he breathes the perfume. His wife is in her usual attire, with a broad necklace but with no arm decoration. She affectionately wraps her left arm around his back, whilst holding his upper right arm with her right hand.
In front of them is a single pillared table laden with baskets of fruit, a goose and a cluster of grapes. Under the top of the table are four closed ovoid jars, two on either side, each with a lotus bloom wrapped around it and between each pair is a plant. Above the provisions provided for the afterlife is a conventional rectangular menu area, providing the numbers, measures, and quantities of many other things for them, among which are wine, geese, beer, fruit, etc.
Facing the couple is one of their sons, Kha, and behind him is possibly his sister, although there is no identifying text. He has the white kilt with the shoulder strap and white sandals, his head is also shaven. The text above Kha states:
"His son, the wab-priest, Kha. He says: 'Making an offering purified twice, to his (my) father and his mother, of bread, liquor, oxen, geese, every good and pure thing, cool water, and wine.' ".
The young woman is dressed in a long flowing semi-transparent dress and a long black wig with small locks at the end. She has a broad necklace, arm bands and bracelets. In her hands she holds lotus flowers and two large vases dominated by blooms. Close to the first red and blue vase is written the hieroglyphs indicating the content:
jrtt). The other vase is totally blue. Such a deep blue colour indicates that the artist probably had either a faience or glass vessel in mind: this scene is one of the first showing man-made glass in Egypt.
This time the couple are both seated on black chairs. They are dressed almost identically to their image above, but this time Henuttawi has bracelets on her arm. She again holds him with her hands. He holds a kherep sceptre in his right hand and places the other on the foods of the table in front of him. The text which extends above them states:
"An offering made in the name of Osiris, that he may give (and Menna may) receive bread offerings, which comes forth before the pure flames on the altar of Ra, for the Ka of the scribe of the estate of the Lord of the Two Lands, Menna. His name is not destroyed. This is followed by:
His sister, lady of the house, chantress [of Amen, Hen]uttawi."
The table is not portrayed standing on the floor in front of them, but on a raise horizontal line, perhaps this indicates that is was positioned to one side. Recognisable items on it are breads (long and round), a basket of fruit, a goose, pieces of meat, a gourd and a bouquet of lotus laying across the top. This time, under the top are only three ovoid jars and two large plants. Also this time there is no tabular list above the table.
In this lower scene, the image of his other son, Sa, has been destroyed, there is no doubt that he was dressed as a
sem-priest, in his leopard skin over-garment. Above the now lost image, the text states:
"His son, whom he loves, Sa. He says: 'Thousands of loaves, jars, oxen, geese, thousands of everything, cool water and wine.' ".
Behind him stand two young women, again no text, but probably daughters. Both wear long semi-transparent dresses and a wig. Both have jewelry which includes a broad necklace, earrings and several bracelets on their arms. The first carries a vase on the upturned palm of her right hand, lotus flowers hanging from it and one which extends above above it. In her left hand she holds long stems of papyrus. The one standing behind her only holds a lotus flower in her right hand, her other hand hangs at her side.
This wall is over 1.6m wide and just less that 2.0m in height and is divided into three zones. Centrally there is a door framing a niche, and on either side are two registers, each containing an image of a man bringing gifts towards it. Because the image area is greater in height than the adjoining side walls, the top and bottom levels of the border decoration do match the adjoining ones. The top border and its frieze do not extend across the central area, allowing the top decoration of the door frame to reach the level of the ceiling. The upright outer part of the door frame is separated from the other sections with a yellow band, whilst the door frame stands on a white plinth (a door step?). The two side wall are bordered at the bottom with the usual broad red and yellow bands, above the dado area, but this wall only has the lines drawn for producing these; no paint has been applied.
The central section, which divides this wall, is decorated as a door frame, which surrounds a deep niche. The niche, which is 0.56m wide, 0,64m deep, 0.81m in height and 0.94m above the floor level, has no internal decoration on its white surfaces. It was created to receive a statue of the seated couple, Menna and Henuttawi, of which now only their lower portion and the solid seat remains. The actual framing of the door, which is painted black, includes above it a more decorated area, at the top of which is a rounded arch, again all edged in black. This top section is divided into two areas, the upper arched area consists of a frieze of djed-pillars on either side of a double floral motif consisting of two tied papyrus blooms. In the lower area there are two djed pillars at either side of a framed Hathorique head. Outside of the arch, in the upper corners, on an orange background, are two udjat-eyes. Below the niche is a strange decoration which even looks as if it could be a library of modern books.
The top left side image. This contains the image of a man is dressed in a short kilt and a long semi-transparent overgarment. He also wears a black wig and a bracelet on each wrist. He holds a stand with both hands on which is a rounded stack of fruits. On top of the fruits rests a lotus blossom. From a rung of the stand hang two lotus buds and a lotus flower.
The top right side image. This man is dress identically to the one facing him, but he has no bracelets on his wrists. He balances on his right hand a reed mat on which is a jar (red and blue) and two circular loaves of bread. Hanging from this hand is a lotus flower and two buttons. Above him is a horizontal line of text, the only one on this wall, stating:
"Bringing all good things to the Osiris, the great god." Below his offerings is a destroyed area which possibly contained a column of text.
The bottom left side image. This character is dressed as the previous two, but he also has no wrist adornments. He holds three long sheaves of foliated papyrus in his right hand and in the other he holds a lotus flower and two buttons.
The bottom right side image. This final man is dressed differently. He still has the semi-transparent overgarment, but his kilt is different from his companions. He also has no wrist adornments. He, like the man facing him, carries long sheaves of foliated papyrus in one hand and lotus blossom and buds in the other. But to be different from the other, his the stems of his lotus plants are rolled around his hand. Above him are several columns prepared for the addition of texts, but these had never been written.