The courtyard is now entered at the northern end by a flight of descending concrete steps. These, like the two main side walls, are a modern construction. Originally the courtyard may have been at the same level as the approach, possibly even slightly higher. This rectangular courtyard, though somewhat irregular, is approximately 6.0 metres wide by 7.6 metres in length.

The entrance doorway was surrounded by a sandstone door frame, a small fragment of which still survives, with a short section of two columns of hieroglyphic inscription. The text reads: "… coming forth on earth, seeing the sun, the moon, Amun in… may she give all that comes forth (on) her offering table, all that is offered in…"
Part of the original crumbling walls of the courtyard can still be seen at the facade end of the west wall. It consisted of rubble set in mortar and faced with soft lime plaster. The poor quality of the limestone can also be seen in the facade.

Although no longer present, the shelf above the entrance facade contained several funerary cones embedded in light mortar. They were made of fired clay bearing text on their circular face and would have been inserted as a frieze, with the stamped face exposed. The aspect had to be very close to that found above the entrance to the tomb of Nebamon and Ipuky, TT181 (see ). Those of Djeserka (twelve in number) are currently held in the , in Boston. The photograph opposite is © Museum of Fine Arts, Boston. They vary in size, some in fact consist of nothing more than the embossed base. Full details and photos of each are available on the MFA site. They each have the same text: "Scribe, counter of the grain of Amun, Djeser-ka".

The passageway is very irregular in shape (see plan above), measuring approx. 1.4m width, 1.8m length by 2.25m in height.
The floor, being about the same level as the courtyard, is separated from it by a single step (see view).

Only the east thickness wall of the entrance leading from the courtyard is painted, the other being blank. Fortunately some of the colour has survived and also a reasonable portion of the actual decoration.

The decorated area of this east wall is bounded at the top by a frieze of downward facing, open and closed, lotus blossoms. The upper end of the open blossom stems has a circular representation of open bloom. Another small feature is situated between the stems of the flowers. The design is painted on a light beige (or off-white) background, as are the scenes of the main area, below it. The decorated scene originally had a border of coloured rectangles at each side and along the top edge, under the lotus frieze. This border has only survived at the top right, vertically and horizontally. See for these details. The bottom of the wall has an undecorated dado area.

The decorated area is extremely damaged, especially the courtyard section. What colour has survived allows the identification of the original scene. This represented Djeserka and his wife, located in front of him, striding out of the tomb, theoretically towards to rising sun. Djeserka was painted in the usual yellow-ochre and a large portion of his upper torso and left arm can still be seen (see ). He wore a white garment and a broad necklace. His left arm is held downwards, whilst his right is held across his chest, possibly holding something. All that remains of his wife is the pink colour of her body, with very little of her features, although over a century ago it was possible to identify that she was holding flowers and foliage in her hands.

Above the couple were originally 12 columns of text, the first of which, on the left, has now totally disappeared. What remains of the other columns is now badly damaged (see and ). The text, produced in multicoloured hieroglyphs, was (based on what was there about 100 years ago) as follows: "[Praising Re when he appears, by] the scribe and counter of the grain of [Amun], steward of [the second priest of Amun], Djeserkareseneb, justified: 'Hail to you Ra-Khepri […] have come to you to praise your beauty when you appear in the east of the heavens, to extol you when you set in life. I welcome you into the presence of the dwellers of the Duat. My two hands bring the udjat-eye and I present (to you) justice. I propitiate the neshmet barque (the sacred barque of Osiris) , whilst I, the scribe, Djeserka, am in the mesektet (the evening barque of the sun god) and the mandjet barque (the morning barque of the sun god) , for ever and ever".

Having passed through the entry passage, the colourfully decorated transverse chamber spreads out on either side, with the entry to the rear chamber offset to the left in the opposite wall. This first chamber, being approximately 7.5 x 2.5m in dimension, is not only irregular in shape but the lengths of the two side areas are also different, being longer on the right (the west) than on the left. The ceiling, being about 2.5m above floor level, is about 0.25m lower than that of the entrance from the courtyard. Although the walls are quite flat they do not form a perfect rectangle (see ). Some of the walls are better preserved than others. The decoration of the rear left (south-east) wall, which was good enough to copy in line-drawing over a hundred years ago, has now almost disappeared (see right-hand side of ).
The frieze, at the top of the three eastern walls (left of the entry) were to be decorated with the normal kheker design, however the stages of decoration varies between all three, none of them actually being in a finished state. The frieze area of the western side walls were to use an inverted lotus design, but here, the west wall is was either not started or it has lost all its decoration and those of the north and south wall have a distinctly different design to each other. These friezes will be covered more fully in the description of the individual walls.
The bottom of all the walls have an undecorated dado area of about 0.6m.
In the floor of the west wing is located the shaft to the burial chamber.

The image area of this wall, like the other two walls of the eastern wing, may have been design to have three borders of coloured rectangles, one at either outer edge and one at the top, below a kheker frieze. Although just enough room exists for the two outer ones, nothing now exists. However, for the horizontal top border, the two narrow border bands, in blue, were already completed, but the area of coloured rectangles was neither added in outline nor coloured.
Above it, where the kheker frieze was to exist, the area only has the reddish-ochre horizontal positioning lines in place for the various elements (see , and ).
Very little natural damage has been sustained by the wall and the colours have retained much of their original brightness. However, several columns or part columns of text have been deliberately destroyed in order to remove the reference to Amun and any associated text. This would have been done during the Amarna period.

The wall is divided into two horizontal but unequal registers. The upper one having, at its centre, occupying half the width of the wall, three standing figures of Djeserka, his wife and eldest son. They face towards four piles of offerings. Behind them are three sub-registers occupied by people carrying more offerings. The lower register has yet more offering bearers.

The three figures who face left are identified by the texts as "Djeserka" (his abbreviated name), "Wadjrenpet" and, at the rear, "Menkheper" (at least according to Davies, because his column of text is now blank, but not chiselled out). They all, with naked feet, face the four piles of offerings, with Djeserka holding a large vessel pouring on to them oil or incense. These piles each rest on a platform formed from a read mat, not a table. The bottom three contain a wide variety of meats, breads and drink, whilst the top one has four vases with a bunch of lotus blossoms resting on the top of each.

Djeserka (see ) is dressed in a white kilt which separates at the front revealing a triangular section beneath. Over this he wears a semi-transparent long garment which extends over his upper arms and down to the lower part of his legs. This over-garment is tied at his waist. He will be seen in these garments elsewhere, even when carrying out his official functions. He also wears a broad necklace and wrist bracelets.
The text in front of his legs states: "Receive [good and pure things, 0 Amun] from the hand of Djeserka".

Wadjrenpet (see ) stands behind her husband. She wears a long white dress which covers her left arm (but not the right). She wears a headband around her hair at the front of which is a lotus blossom. On each arm she has three bracelets, but her broad necklace has only been drawn in outline, still awaiting the addition of paint. Across her chest she holds a lotus flower in her right hand. In her left hand, which is extended downwards, she holds a bunch of leaves.
The text in front of her legs states: "His beloved sister with a place in his heart, mistress of the house, Wadjrenpet".

Menkheper (see ) stands at the rear. He wears a simple white kilt and no jewelry. In his hands his holds a tall and elaborate bouquet. This consists of three stems of papyrus into which are inserted some open flowers, some flowers in bud, the fruit of the mandrake and bright poppy petals.
Possibly because of the lack of space, he is only identified in the more descriptive text above him.

Columns 1-10 (note: columns 4 and 8 have been destroyed), in multicoloured hieroglyphs, state: "Offering all manner of good and pure things, supplying the altars with incense and birds for [Amun in all his places], to Re-Harakhti, to Osiris, lord of eternity, and to Hathor, regent of the necropolis. On behalf of the scribe and counter of the corn of [Amun, steward of the second priest of Amun], Djeserka, the justified one, and (finally, in column 10) "his sister, the mistress of the house, Wadjrenpet."

Columns 11-14 (note: column 12 has been destroyed and column 14, now unreadable but readable to Davies) in blue hieroglyphs, state: "Bringing all fresh, [good and pure things for Amun] (and) Hathor, regent of the necropolis, (by) his son, the scribe, Menkheper."

Columns 15-16 (column 16 has been destroyed), originally in multicoloured hieroglyphs, relate to the first (left-most) character in the upper sub-register behind the family trio.

In these, eight people bring more gifts for the alters. Very little damage has been sustained, not even to the naming texts of the characters located in the top sub-register.

The top sub-register. The three male characters displayed here are all identified as sons of Djeserka. They each wear a simple white kilt. Between them they bring a cone of white fat, lotus buds, a small table with grapes, and a papyrus flower.
The first (left) is identified in the last two columns of text above the trio (columns 15-16, above). However, the second column has been destroyed. He is: "His beloved son, the scribe, the herdsman". Davies gives the missing text as "[of the geese of Amun, Amenhotpe]".
The next two are both named identically, by a column of text in front of each of them, as: "His son, the scribe, Neferhebef". It is strange to find two sons with the same name, so this must be an error.

The middle sub-register (see ). Here are two servants, each with a simple white kilt. The first of the two men carries two large wicker baskets suspended from a yoke carried on his right shoulder. Each basket holds five vases, which appear to stand on top of it, two above the other three. This is the typical view of perspective intended to show the hidden detail. Above each neck of each vessel is a green mass, which is not a plug: could this be a small plant and if so what do the vases hold? In front of the first basket is attached a hand brazier, on top of which is a duck. The second servant carries a large white jar on his left shoulder (possibly wine? or oil?). There are no accompanying texts.

The bottom sub-register (see ). Here, three woman bring offerings, each wearing a tight-fitting white dress. Their wigs are all different (the first being similar, but slightly different), but they each have large circular earrings and three bracelets (one on each wrist and one on the arm). The first carries a bunch of lotus buds and flowers; she also holds in her other hand a bowl possibly containing vegetation. The second holds a vine branch and a papyrus stem, whilst the third carries a bunch of dates. Again, there are no accompanying texts.

This extends the length of the wall. Here are shown the more substantial offerings being carried, prepared, or lead by the servants. At the far left, under the groups of offerings in front of Djeserka, in the main register, is a large altar. This was possibly made of limestone slabs and raised on pillars. On it are pilled meats, breads, and fruit. To this charcoal or black inflammable resin pellets are added. This would then be set alight for the smell of the burning offering to be carried upwards to the gods. In front of the alter stands a large vase, around which is wrapped the stem of a lotus flower in bloom.
Three offerings bearers approach the alter carrying a wide variety of offerings. Behind them is depicted the slaughtering of the ox by two butchers (see ) ; this would normally have taken place elsewhere. To the right of this (see ), a small ox is led by one man who also carries a tray of conical breads. Finally, he is followed by another carrying a gazelle across his shoulders and has a large loop with a decorated bunch of grapes hanging from his right elbow.