Turning to face the western half of the north (entry) wall of the transverse hall, it can be seen that the decoration of the left-hand half is lost. This was missing even before the line drawing was made. It can still be seen that it was originally edged with a border of coloured rectangles.
Above what remains of the top horizontal border is yet another different frieze, but again, like the south wall which it faces, it is based on downward facing lotus flowers (see ). This time the large open blooms alternate with bunches of grapes, but not linked at the top by red loops.
The dado area of about 0.6m, at the bottom, was left undecorated.

The decoration is a near mirror version of the east part of the wall, at the other side of the entrance doorway, being divided into two unequal registers, the upper register being more than twice the height of the lower one (see ).

The upper again has the deceased and his wife standing before four piles of offerings. Perhaps originally their son would have stood behind them, but that decoration of the area of the wall where he would have been situated is now lost, as are also any servants who may have been carrying more offerings. It may be that the artists never completed this section of the wall. In the lower register there still remains the figures of three servants and their offerings, walking towards those already placed under the piles of the upper register.

The overall appearance of the decoration, when compared with the same scene at the east side of the entrance, is lacking. The detail has less clarity, partially due to the lack of outlining of the characters and objects within the design. There are also many missing features, such as the detail of the eyes. Also, Djeserka's hair was never painted and the area still contains the red lines produced to create the grid for the initial artist to produced the original design. There are also several other items which have only been produced on the initial red outline and left unfilled. These include several hieroglyphs and the top of one of the vessels being held by Djeserka. All of these details definitely point to the fact that the wall was left unfinished and that the left-hand portion may never have existed.

Above the two figures, who face right, are several columns of text, which also includes a single horizontal line above the offerings. Only one of them is identified, "Djeserka" (his abbreviated name). The text which might have named his wife, Wadjrenpet, is missing or never produced. The text states: "Making presentation and offering the oblation (with) a pure body and clean fingers, geese on the braziers and oxen on the altar, wine and flour to [Amun] in all his seats on behalf of the scribe and counter of the corn [of Amun] and steward of the second priest [of Amun], Djeserka.". Note the three deliberately removed entries of the name of Amun: see the three last (left-hand) columns in the . The other missing part of this text is at the bottom of the second column, the "geese" determinative hieroglyphs (shown here enclosed in the red "missing" brackets) in . The reason for this is that the goose (as well as the ram) is indeed one of the animals in close relationship to Amon.

Djeserka is dressed as on the other side of the north wall, again with bare feet. This time he holds in his hands two braziers with a small sacrificial bird on the top of one of them. His wife has nothing in her hands, although the position of her right arm and hand would indicate that something was intended to have been displayed. There is no indication that her skin was originally painted with the usual yellow-ochre, although this may have faded. She also has nothing on her feet.

The couple again face four piles of offerings (see ), not including the two piled in the bottom register. Each pile rests on a platform or pallet and includes a large variety of foodstuffs and drinks. This time, at the top, are three stools with parcels of fruit over which lay bunches of lotus blossoms. The quality of the painting of all the offerings leaves much to be desired.

Here the three men bring gifts towards the two piles of offerings in front of them. This time both groups of offering are in vessels (see bottom right corner of ), so it seems strange that the offering which the men bring are unrelated, and probably relate to those in the top register.

The ceiling of the west bay is undecorated, but area between the entrance passageway and the entry to the rear chamber may have been painted with the same pattern as that of the east bay, but with the design running at 90° to it.

The ceiling of the east bay has been painted in a pattern which effectively runs in an east-west direction. The image left, taken facing east, shows the north and south sides at that end of the chamber (see for more detailed images). The patterned area is edged at the north and south sides and also the east end with broad yellow-ochre bands. These bands, resembling beams, would normally have carried text, but here nothing exists. The bands are then edged in narrow pale blue/white borders. The main pattern decoration is a mixture of dark red zig-zag lines, with yellow-ochre diamond shapes between them. The space between these two patterns is filled on the north side by a dark blue background, and on the south by a paler blue. In one place three zig-zag lines are outlined in white (perhaps the artist was experimenting to see the effect).

This is located in the floor of the west wing of the transverse hall. Being approximately 1.5m north-south and 1.0m across, it almost takes up all of this side of the hall. Currently it is almost filled with rubbish (certainly an infilling by archaeologists), to about 2m from the floor of the chamber. This is very roughly cut, as can be seen from the photo, and its is certainly unsafe around the edges. Nothing is currently known (or recorded) about its actual depth or whether there is an actual burial chamber at the bottom.

The entrance to the inner chamber, with an approximate width of 1.0m, length of 1.2m and height of 2.25m, is located off-centre in the south wall of the transverse hall. Both thickness walls have no decoration (see for right-hand wall), although, as can be seen, a plaster layer had been applied. As with the rest of this tomb the shape is uneven.

The inner chamber, like many areas, is also unfinished. It is again of an irregular shape being approximately 2.1m by 3.5m in dimension, with a height of about 2.5m. As with the entry, the surfaces had been plastered but most has fallen to the floor. At the rear end, above a bench structure, is a 1.0m deep niche for a small statue of either the deceased or he and his wife. The bench would have been for the placement of offerings. Currently the floor of the chamber is full of debris (see the image opposite and ). This includes: two piles of bone fragments, a basket filled with pottery fragments, some larger pottery vessels (also broken) and even some piles of masonry. Considering that the tomb was cleared by members of the Mission Archeologique Francaise in the eighteen-eighties and again in 1908 by Weigall, the question arises as to where all this debris came from. Does it all actually belong to this tomb?