RIGHT SIDE OF THE TRANSVERSE CHAMBER 5NORTH)

West wall - north side

This is almost completely destroyed. Henry Wild recognised however, that immediately to the right of the opening leading towards the shrine (see ) was the image of Re-Horakhty sitting under a kiosk, as Osiris does on the other side of the opening. The kiosk is surmounted with a complicated motif including, at the summit, a row of solar cobras (see ). Toward him advances Nebnefer with a brazier in his hand, followed by his wife, Iy, who is actually on the north wall. In the text above him is mentioned Neferhotep (II), their son: "making live his name" (probably meant to be 'their names').

North wall

(See )

1)- The lady Iy

This lady has already been mentioned, in the fact that she follows her husband, who is on the connecting west wall. Her image is almost the full height of the wall, with text above her, but after her the wall is divided into two registers. Very little remains of her image, but part of her dress can be seen and her right forearm waving a Hathor sistrum, whilst lotus stems hang from her elbow. Above her, the columns of text state: "For his sister, his beloved, the hostess, Iy, the highly praised by Hathor, mistress […]". Before her, there was also the text "Her son, who makes live the name of his father, Neferhotep.". As already mentioned, rest of the wall, to the right of Iy, is divided into two registers.

2)- Upper register

(See )

A couple sit in front of a table, playing the board-game senet

(See .) This is connection with Chapter 17 of the Book of the Dead: "Formulae for transfigurations and glorifications, for going out of the empire of the dead and return to him; to be a blessed in the good West; going out by the day, taking any form desired to be taken, to play the board-game senet sitting in the pavilion; to leave in the living ba, the Osiris, Neferhotep, after his death." (Barguet). In the Ramesside period, the game of senet had only one player, the deceased, without a visible opponent in front of him. But the opponent exists, it is death, forgetfulness, failure in the course in the hereafter, and finally it is a summary of the path which the deceased follows in the underworld, he must emerge victorious. This is illustrated, for example, in the commentary accompanying the identical scene in the tomb of Inerkhau, TT359: " (…) May I move the pieces by placing them where I want (…) May I fight like a god against the opponent and see Neith (…) let my heart be insightful without being negligent, may my heart be clever to guess the game (the opponent) against me and his pawns turn around (against him), can his fingers become disturbed, and his heart leave the place so that he doesn't know (how) to respond." (Cherpion). This idea to play his destiny against death will be taken by Ingmar Bergman in the movie () : here also death is invisible for all the characters, except for the knight who seems to play alone.
As often in this type of representation, two ba-birds are found: they are perched in front of the right-hand part of the roof of the structure, in front of the small bowl containing bread; a Wedjat eye was added to fill the space (see ).

Adoration of Nebnefer and his wife at sunrise

Nebnefer and Iy are kneeling in adoration, and recite a solar hymn which begins: "Worship Ra at sunrise on the horizon in the form of a disk…". A large area of damage has removed the rest of the imagary of the wall except a few traces which allowed Henry Wild to reconstruct the presence of the goddess Nut welcoming the deceased into it, one of the three vignettes from Chapter 17 (see ).

3)- Bottom register

(See and .) All of the right-hand side is destroyed, it still shows Nebnefer sitting alongside his wife, Iy, and her mother, Isis. He holds in his right hand a small billowing sail, symbolising the air which the deceased hopes to breathe again, the breath of life, but also the gentle north wind, which he enjoyed during his lifetime, it is also the hieroglyphic sign (Gardiner P5). His left hand is stretched toward offerings. In the destroyed area must have been a couple of people standing in adoration, three other couples are on the lower register of the east wall.

East wall - north side

(See )

1)- Upper register

The two lions

(See )

The two lions, positioned back to back, seem to support the image of the sun rising between two hills, forming the akhet hieroglyphic sign (Gardiner N27), which designates the horizon. It is also a vignette of Chapter 17 of the Book of the Dead. They are called "yesterday" and "tomorrow"; the naming indicates the ageing sun, which sets in the western horizon, so that the young sun can rise in the eastern horizon, symbolising death and rebirth of the star, and thus, by assimilation, life of the deceased being constantly renewed, which is reflected in the ankh sign of life hanging from under the image of the horizon.

The Benu bird

Further to the right, the wall is destroyed, but it is certain that it contained the image of a seated god of high authority, wearing the double crown (see ) and a wading bird, a grey heron, with a fragmentary text which refers to the transformation of the deceased benu bird (later the Phoenix of the Greeks) in Heliopolis. It is a theme which can be found in Chapter 83 and secondarily in Chapter 17 of the Book of the Dead, this transformation is one of those which the ba (soul) of the deceased hopes to accomplish. The deceased is often seen adoring the bird (as in the tomb of for example, tomb TT359), but not here.
The ba of Ra, the sun, is a benu bird, whose principal place of worship is Heliopolis and it is known that the sun always evokes the eternal return, it is also the ba of Osiris, referring to the victory over death and rejuvenation; finally, it is a being which comes from itself into existence.

2)- Middle register

Nebnefer and Iy worship a female deity, they are followed by four men (including the military) who bring offerings (one of them even holds a calf on a lead), which will be added to those already placed on a monopodal table. The table is flanked on each side by a pedestal supporting a large vase. The columns intended for the descriptive text are empty.

3)- Bottom register

(See )

This is the extension of its counterpart on the north wall. Three couples, heading towards the left, are bringing offerings. Again, the columns to the text remained empty.

THE SHRINE

The entry to this is in the middle of the west wall (see ). It is fully lined with mud bricks, with a vaulted ceiling. The whole shrine has suffered damage. Thus there is nothing left on the rear west wall of the four statues which occupied it, which were, from left to right, Satet, Osiris, Ra-Atum-Horakhty and the goddess of the West.

THE CEILING

This has a vaulted surface, extending down to the two side walls to about a quarter of the full height of the chamber. Even the upper surface of the side walls are slightly curved at the top (see the image to the right). The ceiling is centred, from the entry to the rear wall, by two side-by-side text columns of hieroglyphic text on a yellow background; each column being edged with a red line and a blue one. At each side of the two texts is a motif formed of zigzag lines of different colours (see and ). On either side, north and south, are four rectangular areas. The two outer rectangles are decorated with geometric patterns.The middle two, although difficult to examine, actually contain scenes. All the four sections are edged with a column of text on a yellow background. At the junction of the ceiling and the side walls there is another row of coloured text, again on the usual yellow background (see the bottom of ).

On the southern half of the ceiling

(See and )

In the two scenic areas: to the left is found the deceased with a tree goddess who provides his subsistance and to the right are represented four baboons sitting around with food, surrounded by date palms.

On the northern half of the ceiling

(See , and )

The two central areas show, on the left side, the deceased crouching under palm trees in the process of quenching his thirst (as in the ) and on the right side, the deceased is fed and watered by the goddess of the sycamore who is kneeling beside the tree.

SOUTH WALL

This wall is divided into two registers, but possibly containing similar scenes, the lower one is almost lost. In the upper one Neferhotep and his wife, Iyemuau, are offering to the goddess Anuket and Horus son-of-Isis, they are accompanied by their children and grandchildren (see in which an arrow points to the feathered headdress, characteristic of the goddess Anuket; also see for detail). Horus is in the form of a falcon wearing the Double Crown, with a flagellum stuck in his back, whilst at his feet rises a cobra wearing the white crown. Behind Horus, two wings spread around the solar disk which are appropriate to Horus Behedet (also known as Behedety), who was a god of the midday sun in the Delta, but would be quickly assimilated with Horus of Edfu.

NORTH WALL

This wall was constructed in a similar fashion to the facing one, also having two registers, which here constitute a single theme. This time it is consists of Nebnefer and his wife, Iy, who dedicate some offerings, followed by members of their family (see , and ). Recipients are, this time, Harseisis and Anuket, who are associated here with the two other members of the triad of the cataract, Satet and the ram god Khnum.

This triad of the south is found in the tombs of some of the craftsmen of Deir el-Medineh, but it is especially Anuket who is venerated, because she was associated with Hathor, the main divinity of the village.
How did this cult become installed in Thebes? It is only one of the multiple cults imported which one finds in the village and that testify to the mobility of the craftsmen. When a newcomer was admitted into the community, he brought with him his beliefs and his gods and goddesses. On the other hand, it is known that the workers of the village were mobile. This is how one finds their traces in some tombs of Bubastion of Saqqara. Nothing prevents one thinking that some could also go to their work in the region of Aswan and discover the divinities from there, which they then integrated in their personal pantheon.

THE BURIAL CHAMBER

This was originally entered by a shaft in the courtyard. This may have been modified into a ramp (see the ), but can anyone confirm this? The entry to the chamber is on the east side (see ). The chamber is decorated with sketches on a white background. No photos are currently available.

Turning to the left on entering the chamber, on the south part of the east wall and the south wall, the tomb owner and his wife pay homage to squatting gods.

Now, turning to the right on entry, on the north side of the east wall is the text from the "Book of the Dead" and images of the deceased, his wife and more squating divinities.

Proceding to the next wall, the north one, this is divided into five registers. Even though, as stated, no photographs of this chamber are currently available, comparison between the two photographs in the Eva Hofmann publication (p.80) shows that this wall is almost identical with the famous wall of the tomb of Sennedjem, TT1. It includes the painting of the harvest in the fields of "Iaru", the land of the hereafter (see ). In it, the deceased ploughs, harvests, eats, drinks and can live on, in the circle of his family.

Finally, the west wall, the one facing the entry, is divided into two registers. It includes pictures of the Book of Gates which are guarded by five fire-breathing snakes with knives. The upper register has the deceased and the lower one has his wife. There appears to be a niche at the south end of this wall.