The wall is 6.42m long and is divided into two panels of different length. The northern panel is 5.32m long, the southern one is 0.93m.

The panel (see above and ) is divided in two registers of unequal height : the top one being 1.15m and the lower one 0.39m.
Above the panel runs a line of inscription, of the invocatory offering type, being given by Anubis, by the king and by Osiris. It stipulates certain times when the offerings must be presented. It was, of course, a reminder to those (family or priests) who were in charge of the funerary cult : "May an invocation offering come forth for him on the Opening of the Year Festival, on the Festival of Thot, on the Beginning of the Year Festival, the Wag Festival, on the Great Festival, (the Festival of) Burning, on the Beginning of the Month and the Beginning of Half Month Festival, (namely for) the sole companion Merefnebef".
Vertical lines, sculpted and painted in black, divide the register in three groups of scenes, represented in blue, magenta and green on the plan above. The lower register of the panel forms a horizontal band; this is represented in red.

This group (magenta on the plan) is located about the central axis, the one which can be seen when looking into the chapel through the entry passageway ().
It represents a mirrored scene, which includes two large representations of the vizier, facing each other, either side of the central axis, formed from two columns of hieroglyphs. The columns again provide names and titles of deceased; the one on left ends with the name Fefi and the one on right with the name Merefnebef.
The vizier, besides his usual attire, wears a panther skin whose tail hangs between his legs; the two representations only differ by the style of his hair ().
Tjeset, mother of the vizier, kneels at her son's feet, with the accompanying text : "his mother, honoured by Anubis, Tjeset" on the south (right) side and "his mother, honoured by Osiris, lord of the sky, Tjeset" of the other. She wears a long dress, whose large shoulder straps cover her breasts.

This group (shown in blue on the plan) is located on the left (north) of the previous group. It is sculpted in raised relief.
Two vertical columns of inscription, providing names and titles of the vizier, permit the sub-divison of group into three scenes.

These each include a large sized (1.15m) representation of the deceased walking southwards, feet naked. In both cases he wears kilt, a broad necklace and bracelets, and holds in his hands the attributes usual with his power : the staff and sceptre.
On the left, Merefnebef wears a short curly wig, decorated by a ribbon, of which one of the ends hangs down onto his shoulder. Also around his neck hangs a long pendant, comprised of pale green plates, with a dark blue jewel at its extremity.
On the right, he wears a long wig and a sash which crosses his chest from his left shoulder and round his back (). The quality of his broad necklace has survived well.
The two wives who kneel at the vizier's feet are : on the left Sesheshet (), and on the right Nebet; they are based on the model of Tjeset, who has already been mentioned in group 1 ().

The scene of the slaughterhouse is divided in three registers, at the top of each is an inscription line which tells "Bringing the choice of forelegs for the honoured, etc.".
Each register contains a scene showing slaughterers and offering bearers in action. All porters head toward their master, to the north.

The bull is painted white, with black splashes, while visible extracted parts are painted red. Two butchers are shown cutting off the leg of the animal, while another man is extracting its entrails.

Two butchers, each holding a long brownish knife, lean over the slaughtered animal and whose haunches are still attached. Each of the three servants transports toward the vizier the Hpesh, the right haunch, which represents the piece of choice.
The inscription above them is artistically interesting, placed between the heads of the two butchers. The final polychromy is well preserved, thus showing a sample of the skill of the painter.

Its composition is almost superimposable onto the middle register. Some of the inscriptions are very lively. Such as those between the butchers : "Extract this heart, hurry up !". or "Pass the fillet !".
An interesting iconographic point, which can be found in other places in the tomb : the final porter, on the right, is distinctly different to the other. He doesn't have a wig, and visibly shows frontal baldness (probably androgenogenetic alopecia) ; under his rounded stomach his kilt is badly adjusted. All of this is (Egyptian) evidence of a lower social status. Each of these porters carry an ox's foreleg on his shoulders.

The scene of hunting birds takes place in a setting of 1.48m wide by 1.18m high. It is remarkable for the miraculous preservation of its many colours, which gives an idea of the brilliant lustre which the whole room must have had originally.
Another interesting point : the scene presents grey-black retouching, notably behind the head of Merefnebef, in addition to the modifications brought to the scene of fishing which is situated further to the right, the significance of which will be returned to later.

The scene can be subdivided into three : at the centre, Merefnebef on his boat; in front of him, the marsh; behind him, the porters of offerings.

Standing erect on a papyrus boat, Merefnebef occupies the whole height of the register. Turned towards the left (north), he holds in his left hand a throwing stick, in his right he clutches three birds. He is shown barefooted, in a regal stance : royal style kilt, two necklaces, a broad one and a long one with a pendant and with bracelets on his wrists. His short curly wig is decorated with a headband with a floral bow, from which two pairs of ribbons protrude, the longer ones (which are beautifully worked) hanging down behind his shoulder.
The identifying text of the tomb owner is divided into three short inscriptions : one in front of his head, the others are on either side of his throwing hand.
The middle one has been secondarily overlaid with dark grey, probably by his son, Merefnebef II, who also modified the fishing scene. So that the titles which the son didn't carry have been erased, which were appropriate to the pyramid of Teti (which was called "Steadfast-are-the Places of-Teti") and of his Meret-Teti temple. The two other inscriptions are variants of "JmAxw xr"="Honoured by". It is surprising that the word "nswt" (king) has not been chiselled out, since it had purposefully been erased in the same title found the two walls of the entry passage. The possible reason for these erasures will be seen at the end of survey. Why it wasn't destroyed here is a mystery !

Between the vizier's legs, can be seen small representations - almost superimposable - of two of his wives, Sesheshet and Metjut, each holding, with one hand, one of the legs of Merefnebef, and a bird in the other. A naked breast of each can be seen in profile. In front of the Merefnebef's right leg, stands his eldest son, Manefer, who surrounds his father's leg with his left arm. His name has remained legible above him. In his right hand he holds a bird, probably a goose. It is uncertain why, here again, the iconoclast didn't take the pain to erase this disgraced (?) brother's name, whereas he succeeded elsewhere.

The boat is represented with a green body with brown ties. This contrasts with the small boat of his helpers in front of him, which has a greyish aspect striped with green. The boat of Merefnebef possesses a flat board of cross-grained timber, probably a deck. Some materials are stored at the stern, not very easy to identify. At least four mats can be recognised, of which one (with hemmed edges) is larger than the others. Three among them are in front of the vizier's foot, together with a box. The fourth is behind, along with a knotted object.

The marsh and its undergrowth of papyrus doesn't seem to be part of the scene of Merefnebef in his boat. Rather, it presents itself as an insert, with only one small connection, that of the front of the vizier's boat and a small skiff in front of it using it as a background.
However, the freshness of these old colours, of 4500 years (45 centuries) can only be marvelled at. It is truly brilliant !

The stems of the undergrowth form a tight green curtain, with three rows of very symmetrical umbels at their top. The area above them is densely packed with birds which, forming three horizontal rows, fly in alternating directions (). The animal world in the undergrowth itself is very dense, and consists of two motifs, placed symmetrically in relation to a central axis. Each side has a beast of prey. On the left is a mongoose and on the right is a common genet. Each attack a nest where three terrorised small kingfishers squeal. Above, their parents attack the aggressor to try to repel it (). Other nests also appear in the thicket.
In front of the vizier's arm, a goose touches a butterfly which has open wings ().
At the top, on the almost black background, the birds were painted in a multitude of colours, which have alas nearly vanished. The artist didn't always assign the authentic colour to the birds and sometimes looked for a visual effect in his style, as seen in the blue colour of some birds (), such as those held by Merefnebef. Others are pleasantly painted in a multitude of strong colours ().

At the bottom of the marsh are Merefnebef's assistants, on a small craft partially hidden by that of their master ().
The two hunters hold birds in their left hand and on their bent right arm, three calves (an impressive trick !). They are clothed in a short kilt and wear a small wig. They are in contrast to the two rowers, partially bald, and whose morphology indicates their low social status; This has already been mention above.

A survey of the undergrowth of papyrus, of its fauna, of the characters who find themselves in it, allow for comparisons with other tombs of the region, and constitute one of the elements of its dating.

Two rows of priests bring various offerings (birds, calves, fruits and breads). Above each register is a line of inscriptions. At the top : "Bringing all the fresh vegetables as gifts"; below : "Bringing gifts by ka servants of the funerary estate".

Stylistically and chronologically, the marsh scene of the tomb of Merefnebef is located between those of the tomb of Ti (north of the pyramid) and that of Mehu (south of the pyramid). Many motifs of the tomb of Ti, which dates from the end of the 5th Dynasty, have been copied by the artists of Merefnebef. In particular, the animals in the papyrus undergrowth are close in form, but the composition differs; with Ti, there is no symmetry, the disposition is more natural, while with Merefnebef, there appears a geometric, linear and symmetrical disposition, a trend which will characterise the whole 6th Dynasty.
Another reminiscence of the 5th Dynasty is in the characters present on the boat : the group formed by the eldest son and two wives - but without the titles - is a reminder of what is found in the double scene in the mastaba of . In this mastaba, the titles of the four characters allow them to be associated with Horus (the son), Hathor and Neith (the wives), and Osiris (the deceased), while the scene of bird hunting symbolises renewal and the deceased's triumph over the hostile, unverifiable strengths, always ready to engender disorder (isfet).

Represented in red on the plan, it measures 5.33m in length and 0.39m in height and is separated from the upper register by a horizontal line in raised relief. It is divided in two symmetrical parts by a small vertical column of inscriptions : "An offering which Osiris gives for the sole companion Merefnebef". This is located under the left representation of Merefnebef with his mother, of which this constitutes a vertical extension downwards; it thus forms an axis around which are aligned two sets of characters coming in opposite directions ().

Either side of the inscription are two porters, actually a mirrored scene, who (on both sides) are identified as sons of Merefnebef : first, Manefer and behind him Merefnebef (II) - who is only identified in the southern version. They lean forwards, presenting a forelimb, also confirmed by the inscription above them.

Fifteen women head toward the right. They personify the funeral domains which are supposed to participate in the maintenance of the vizier's funerary cult. On their heads, they carry a basket, a box or a cage full of offerings supported by their left hand. Each also holds in the right hand a tether to which is attached an animal, or another object. All wear a black tripartite wig and a long tight gown with two shoulder straps. The green colour of these dresses is only preserved in the eleventh. The many colours of this area are only partially preserved ().
The listed domains are of the type "Niut" and include in their names those of three kings: Isesi, Unas and Teti. Notice that none of these domains contains the name of Merefnebef. Quotes from some of those listed are : "The lady of Pe wishes that Teti lives", "Good is that which Ptah does for Unas !", "Ma'at causes Unas to live".

Behind the two sons are represented two other members of the family, in the same style as the two sons preceding them. Behind them, three men hold the head of a goose with their right hand and its wings with the left, thus presenting this offering.

This is to the right of the porters, and ends the register. Two oxen lay on the ground, heads towards each other, around each of which work two butchers, assisted by two porters. One of the animals is certainly an antelope of the oryx type, from which a butcher is cutting the foreleg, holding it upright in front of him.
The living character of the scene should be noted : the attitudes are varied, as well as the form of the bodies. The kilts are worn differently during the process of working. One of the porters holds on his shoulder a haunch, the other two hold rounded vases, probably containing the blood of the slaughtered animals.

This is represented in yellow on the plan. It is separated from the north panel by the vertical frieze, formed by colourful rectangles used throughout to border the wall panels.
The decorated surface measures 1.71m high by 0.93m wide and is divided into two very distinct sub-panels.
The upper one measures 0.84m in height, the lower one is 0.87m.
There is a clear and distinct difference in the style and colour of these two sub-registers, due to their origin, which is explained below.

This is further sub-divided into two zones, left and right.
It is distinctly less well executed than the sub-register below; nevertheless, this area remains much more colourful than what remains of the underlying original register. The proportions of the characters, the details, their interrelation, are different from the other reliefs of the tomb. Besides, the representation of a woman seated in front of a table of offerings is also unique in the monument.
All of this suggests that the representation of Merefnebef in this register is not the vizier, but probably his youngest son, who also carried the name of Merefnebef and also the title of "sole companion", of his father.

It is also reasonable to think that after the vizier's death, a struggle began between the sons, in which the youngest son Merefnebef (II) / Fefi was successful. He, having noted that this part of the decor was badly damaged, decided to "kill two birds with one stone" : he decided to restore it and to modify it in his favour, while inserting his own effigy and the one of his wife.
The wall was therefore dug out and blocks of limestone inserted, bound together by mortar.
A characteristic of these secondary scenes is that their background, which is not smoothed, has been painted in grey, and not in black as in the rest of the tomb. The figures appear flat, missing the roundness of the original reliefs of this chapel, presenting themselves more as incisions than in bas-relief. The proportions of the figures and the detail differ from those of other scenes.
The artist did however take care to assure that the new scene had continuity with the representations of originals situated underneath and in contact with them.

At the top is an inscription in two lines : "Honoured by the great god, sole companion Merefnebef (II) ".
Underneath is found, superimposed one above the other (but probably to be interpreted as side-by-side), the younger Merefnebef and his wife. They are represented clumsily in relation to the quality of the rest of the tomb. Both seated under a kiosk surmounted by a flat roof, of which one of the support columns, imitating a bunch of lotus plants, is represented in front of the couple; its stem is made of alternating yellow and blue rectangles; its capitol includes three large blue petals and six small inner ones.
Both are seated on a black and yellow chair, with legs ending in lions paws and with a backrest; turned toward the right (south), they stretch their left hand toward various piled offerings, the right one rests on their knees.
Notice should be made of the white kilt of Merefnebef : the artist didn't know how to orient the triangular front correctly.
The mass of offerings placed on the floor in front of Merefnebef is placed on top of a large yellow bowl, lined in black, which contains nine pieces of meat, painted in red. Above these, the pile of a variety of different offerings reaches the top of the kiosk. A much small pile stands before his wife.
Above her representation can be read : "his wife, his beloved, Hemi". This is the only place in the tomb where this name appears and, considering the context, it represents the wife of the youngest son, Merefnebef II. The very bottom of her chair, her legs and offerings are part of the original decoration of this wall, thus showing the lengths to which this new addition was incorporated into the wall.
The couple, Merefnebef II and Hemi, therefore usurped, partially, the vizier's tomb.

In front of the kiosk, three men (pictured one above the other) are bent towards the couple, offering them stems of lotus in bloom or in bud.

This space is occupied by a "genre" scene (or scene of everyday life) representing a typical Nile-based landscape. The total area is sub-divided into three. At top and bottom, small sub-registers border a central part consists of a square area depicting the river itself with papyrus thickets on the right.

The central aquatic area has, on the right, an oblong space contains an undergrowth of papyrus in which the blue-green stems are topped by three rows of open corolla. The arrangement of the group is characteristic of the later 6th Dynasty period, thus aiding (yet again) the dating of this tomb.
The larger river scene, on the left, is once again geometric in nature, with three horizontal divisions. The central part shows what happens on water, whilst at the top and bottom, can be seen what happens on the banks.
In the central part, three rows of open lotus flowers float on the lower surface of the water. The rectangular section above this, which represents the central part of the stream, is painted in a darker blue, with many zigzags line, in which has been cast a large net. This has enclosed four fish : a tilapia and a bearded bynni in the centre, with a mugil at each side. Six fishermen standing on the upper bank (indicated by a brown/black stripe) pull on the extremities of the net. The floats of the net are shown beneath their feet. The men all have short cut hair and wear short white kilts, in contrast to their red bodies.
The small register beneath the watery area shows four pairs of geese walking on the opposite bank, heading north.

The two small independent sub-registers, above and below the central scene, conclude the new addition.
On the left-hand side of the upper one, two fishermen bring the mugils captured previously toward the couple, to decorate the table of offerings. This offering of fish is rarely represented in the tombs, and will subsequently disappear. On the right, are seen some peasants at work. At their centre one of them tills the land, surrounded by two sowers (text : "Sowing the barley"). They are turned towards the right, which shows that they don't belong to the deceased's agricultural domains; it could be said that they are on the horizon.
Below, the bottom sub-register is actually shared with the original lower section of this part of the wall, easily seen by looking at the background (). It shows three men, maybe the same ones as those in the upper boundary register, some months later, during harvest. Unlike their equivalents above, these three face the nobleman and his wife, as if they were preparing an offering for them. Each holds a bunch of corn with his left hand and a rounded sickle in the right, cutting the plants at their base.

The agricultural scene continues in this original decor of the wall, and the painter who achieved the scenes above took care to ensure a continuity with the scenes immediately above. The scenes, in true bas-relief, were originally a lot more colourful, but their polychromy has unfortunately disappeared and some zones have suffered greatly.

Three sub-registers show craftsmen to work. The general disposition of the scenes manifests that they almost certainly continued in the same manner up the usurped upper part of the panel, thus forming the industrial background of the luxurious life of the vizier in the other world.

The bakers bustle around a furnace represented as a tall construction consisting of three brown painted vertical sections, on either side of which are yellowish-red sparks. One of bakers brings a block of red painted dough (?) in his two hands toward the oven; another carries two groups of objects on his shoulders. A third is squatting close to the furnace and withdraws the products which have finished cooking. On the left of the whole scene, a man prepares the dough.

Six men are either holding or transporting the jars, or else filling them with a liquid, doubtless beer. It is possible (though with difficulty) to notice the variations in the hairstyle, which certainly translate into differences of social class.

This relief is badly damaged, and the activity of the three men can hardly be identified, given the deterioration.