THE TRANSVERSE CHAMBER (continued)

NORTH-EAST WALL

(See .) The decoration of this wall has nearly disappeared. However, from what does remain it is sufficient to know that it was comprised of two superimposed registers, of a similar height.

The bottom register

From the few fragments which remain, it is reasonably certain that this lower register contained the seated figure of Ipuky, with his wife, Henutneferet, seated behind him. Her name can be seen in the small fragment at the upper left of the register. In one group of fragments, which still survive, can be seen the foot of Ipuky, the bottom of the pile of offerings and the lower part of the image of the person presenting them (see ). The offerings, in particular breads, were held within a large hieroglyphic ka sign (see the bottom of for detail). Also making these offerings are actually two more people, the middle one is almost totally lost, but the one at the rear is a girl of whom the major part of her image is preserved (see ).

The upper register

Here, the remains are even less, but it can be assumed that it contained a similar scene to the one below, but this time of Nebamon and his mother. At bottom left are the remains of the chair on which the mother was seated (her dress is still visible), under which stands a colourful floral bouquet (see ). Immediately behind the chair is the remains of the Egyptian border which surrounded the whole two registers. According to Davies (in his line drawing), a fragment of a man at the rear (right) should also exist together with a small fragment of text (see ).

WEST WALL AND NORTH-WEST WALL

It is necessary to examine these two walls together, because between them they deal with the funeral ceremony and the rituals which accompany it. They spread across four registers on the two walls, the ones of the west wall correspond to the rear of the processions, with the front being on the west part of the north wall.
These scenes are famous, because they constitute - with those of TT89, the tomb of Amenmose - the most complete of their kind (according to Melinda Hartwig in "Funerary Rites Icons"). Even so, some classic themes are absent in this period, such as the pilgrimages to Abydos, to Sais and to Buto, as well as the muu-dancers; nevertheless, it is necessary to wait for the 19th Dynasty before these themes to really become rare.

Treating the two sections of wall as one, the whole funerary cortege is divided into two distinct parts: the journey by water, which occupies the bottom register of both walls and can be considered as continuous, and the journey by land, which occupies the other registers. This distinction also covers two other activities: the two upper registers of the north-west wall leads to a false door, the portal of passage to the world of Osiris, whilst that of the registers below provides a physical representation of the tomb where the rituals of the day of funeral ceremony were celebrated.

As highlighted by Naguib Kanawati, our knowledge of the progress of the funeral ceremony remains mostly hypothetical. Is it necessary to believe the representations? It has been thought for a long time time that they probably don't depict the reality of the things, but what would have - ideally - taken place. Thus, the performative value of the provided images had possible deficiencies. But further: it is unknown whether what is shown actually took place or even at the time of the death of the individual, which is particularly well illustrated in this tomb TT181. Here are shown two coffins on which the rites are simultaneously practised, whereas it is almost certain that Nebamon and Ipuky did not die at the same time. In the same way, here, as in all other tombs, the wife is always supposed to be alive and filling her role of Isis with Osiris.

At the time of appearance, in the Pyramid Texts, the ritual of the 'opening of the mouth' doesn't have anything to do with Osiris nor the funeral practices: its goal was to celebrate the completion of a royal or divine statue and to bring life to it before transporting it into its chapel. On the walls of the tombs of the Old Kingdom, this ritual is never practiced on a mummy, but on a statue, and later, in the New Kingdom, on an upright anthropomorphous coffin. Nothing indicates that the deceased's body effectively rested there at this time. Therefore all funeral ceremonies would be able to take place during the lifetime of the one requesting it. Representations do exist of the "deceased" shown as leading his own burial ceremony. The final ceremony, after death, could be formed in a more or less faithful repetition - completed this time by the effective addition of the offerings, furniture, etc. in the funeral chamber.
Of course, it shouldn't be forgotten that variations, due to the time period, make impossible the definition of a "standard" funeral. Every case is special, only indicating trends. Besides, and as usual, a precise chronological order may not be found in all these representations.

Bottom register, west wall and north-west wall

In combination, these show the crossing of the Nile by the deceased's mummy, accompanied by parents and relations.

Starting on the west wall

(see bottom register of )

The mummy is located on the last barque (the one on the left), protected by a canopy, which can also be seen on the land-based part of the journey, where it an be found on a sledge. The large structure on which it rests is referred to as a catafalque, built of light wood and covered by pieces of cloth or red leather. Large stems of papyrus, with open umbels, stand at the four corners. Nearby, squatting, is a woman shown in an state of extreme tribulation, pretending to scatter dust on her head, the traditional mourning gesture (see ). The columns of text of all this register remained empty, probably deliberately, thus enabling the deceased to be Nebamon or Ipuky, and the woman to be Henutneferet or Tepu - unless it relates to a professional mourner.
At the time of Davies, two men stood at the front of the canopy, but which have since disappeared. One held the rolls of papyrus (intended for the ritual), and in front of him was a sem-priest (who had escaped being removed by the Atonists) holding a libation vase in one hand and a censer in the other (see ). The crew of the barque amounted to a small squatting character on the rudder at the rear, almost erased.

This barque is pulled by another, somewhat larger, where is preserved the most beautiful scene of ancient Egyptian mourners (similar to the better known one of Ramose, TT55, dating from the same period).
The women, in a state close to hysteria, give the impression of extreme sadness, and the artist worked so well this fairly new theme in Egyptian craftsmanship that it is possible to think of them being agitated in all senses and that their howling can be heard (as still heard at the time of the funerals in Arabic countries nowadays). This taste for over-emphasis and complication can still be found during the Ramesside period. The men, who are seated with their arms wrapped around their knees, seem to be a thousand miles from all this agitation, almost indifferent. According to Sweeney, it refers to a social convention: the men don't have to show their tribulation in public. All of this activity takes place on the roof of the cabin, possibly made necessary by the lack of space. This lack is because a crew is represented, with rowers, a helmsman, a man of prow announcing the direction to take according to the sandbars, and a man at the stern, standing in a very decorative structure (see ).

North-west wall, conclusion of the Nile crossing

(the photo of this is however very fragmented, refer therefore to , bottom register).

Once again a large barque pulls a smaller one.
This time the rear one has a few rowers, a man at the bow, a helmsman and a man at the stern who seems to transmit a signal to his accomplice who stands at the same place on the towing barque. On the central deck of the boat are the men transporting the funerary furniture.
The man at the bow, who has nearly disappeared completely, holds a tall floral offering and voices the sentiments of the passengers: "May he be in peace in his resting-place in the necropolis; may he have a rock tomb of the West; may powerful spells be said for him at the door of his chapel. May he adore the god (when) he sits in the place of the two Ma'ats (ie. twofold Justice) , as is done for one who has done right (ie. Ma'at's justice) on earth.".

The small barque is pulled by a larger craft, propelled by twelve (6 x 2) rowers. At the bow, in a railed structure, stand three or four men, whilst another, squatting, makes a gesture of mourning. The characters were named, but an inauspicious hiatus has made these names disappear, leaving only their titles: "the elder… the priest… the divine father… the wab-priest". Behind them, standing on the bridge, are a group of men working under the orders from Nebamon and Ipuky: "The chief craftsmen in the domain of Amon in the Sacred Place. They say: 'Oh boatmen, you are to take over to the west, those who are the favoured of Amon, as it is done for those who have done good on the land'.".
A sailor holds the rudder, the top of which was decorated by a cow-hide. At the stern stand two men making the same gestures as those at the stern of the boat being towed. The one at the rear is labelled as: "His brother (of Ipuky) [Amen]emhat, who says: "You are bound for the West; you are bound for the West, my righteous (?) one; you are bound for the West.".
On the bank, the boats are received by an official: "The notable (magistrate) [of the west] who supervises the district at the west of Thebes", who therefore confirms the assignment of a tomb and its site.

It is necessary to make a jump in space, because the continuation of the scene happens in front of the facade of the tomb, under the auspices of the goddess of the West, in her form of a standard which is situated to the right of it. This facade will be (when it occurs in the register above this one). The cortege is received by: "His sisters" being those of Ipuky, their names being given in the columns above them: Asyt, Mutneferet and Henuttaneb. These three are accompanied by two mourners. Behind them, two small buildings offer shade, drinks and bunches of grapes to the new arrivals, served by two men.

The next to bottom register, west wall

(see top register of and )

This shows part of the land-based cortege heading towards the tomb, carrying both funerary and other furniture. At the head are nine men (the "nine friends") (grouped as: 2 - 3 - 4) (see ) who hold long stems of papyrus; to break the monotony, one of the men turns his head towards the rear. Each of them also carries two small caskets suspended from a yoke on his shoulder, which in turn is covered with a coloured cloth (?), being red edged with white or the inverse. Each casket appears to be solid in structure, the exceptions being those at the rear, which appear to be of an open structure, containing small vases. On top of the latter casket lies the censer, and a brown coloured libation vase is fastened to the front. This is also the case with one of the caskets carried by one of the men in the second row. Hanging from the yoke of two men near the front are what appear to be water vessels in a net holder, probably to quench the thirst of these men. The heads of the front two men have been lost through damage to the wall.

The first character, who follows this group, carries a chair with a cushion and a set of staves. The next one has his arm through the thongs of a pair of sandals and carries a chest as well as a scribe's red leather and wicker writing case. Then comes a man holding in one hand the scribe's pencil case, to which is attached a small board, and he also holds, ceremoniously on a wicker tray, two shabti boxes (in the shape of a 'per-nu' sanctuary). Two men are required to carry the ebony bed (or perhaps a black painted one) covered with a mattress on which is placed a headrest. Under the bed, a small boy carries on his head a casket and holds a cane to which is attached another, rather small, headrest. An even younger child carries a pair of sandals and balances a small open-work table on his head, on top of which are the implements of a sculptor. Perhaps they as a reminder of his trade, or to enable him to perform his profession in the afterlife. Immediately behind him, advances the porter of a another frame-work pedestal, which almost appears to join with that of the youngster. On top of this are four vases of ointment. Seven "companions" bring up the rear of the cortege, who all hold their left hand draped across their chest. Above these seven characters and the man in front, are eight uninscribed columns.

The two upper registers, west wall

(see )

These are dedicated to the over-land transportation of the deceased, after the catafalque has been unloaded from the boat. The two registers are almost duplicates, the cortege of the lower one being that of Ipuky, with that of Nebamon being represented in the one above. Even displaying them on different registers didn't provide enough space to include the hauling of canopic jars on a sledge, or even one bearing the Tekenu. The content of these two registers also on the left-hand end of the north-west wall, just as did the journey by water. This part of the overland content will be dealt with there, along with the remainder of that wall's content, at its right-hand side.
Because of the considerable damage to the upper register, the lower one will be described first, thus making it easier to understand what is missing from the upper one.

Lower register

At the front (far right), a girl announces the arrival of the cortege with the help of a pair of castanets (see ). The sledge is pulled by a couple of cows, of which Davies remarked on the quality of their artistic creation: "The pair of cows attached to the bier in the lower register are drawn with astonishing minuteness of detail, though the dark dun colour of the outer animal prevents the brushwork being seen, except under close examination of the original." At the side of the animals, a dishevelled drover - whom one would never have imagined in this role of an acolyte - thinly sprinkles milk from a jar on to the path of the animals.
The cows pull the sledge with the aid of a rope, assisted symbolically by three men, in front of whom was originally a priest with censer and libation jar, who didn't escape the destructive action of the Aton worshippers.
Above this whole scene, from the woman at the front to the three men, are several columns of text: "Pulling (the sledge) by people of Pe (the district of Buto, holy city of Osiris) towards the west, towards the land of those who have accomplished the Ma'at (truth) , the land of which it is said 'my heart goes towards him'. Let them say to the cattle 'Pull hard, (you) biggest of the big, and don't left your hearts get tired (because) the sculptor of the Sacred Place, Ipuky, justified, is with you. Pull hard, (you) biggest of the big, for [the load] of the favourite [of Amon]. Towards the west! Your place where you will reside for eternity, Oh Osiris, the sculptor Ipuky, justified. The horizon of the west opens up for you […].' ".

The catafalque rests on a small scale barque, of which even its rear oar can be seen. This in turn is placed on the sledge. Standing at the side of the sledge is a mourner, an unusual image for the time, although she is probably the same person found at its side on the barge. Her dress is greyish in colour because of the dust which she scatters over her head, and which can be seen falling over her upper arm (see ).

At the front and rear can be seen very small images of the goddesses Nephthys and Isis, who watch over the deceased, just as they watched over their brother Osiris (see for finer detail). At this time period their efficiency was in doubt, certainly during this part of the deceased's journey into the afterlife. Thus two of the deceased daughters, one at the front (see image opposite) and one at the rear support the catafalque during its rough journey. In front, turned towards her father, is Mutneferet, taking the part of Nephthys, and probably in a moaning voice says: "Fare you well! Fare you well! Fare you well, my father." The other daughter stands behind a male figure, bent and showering himself with dust and identified as: "His son, the sculptor of the Sacred Place, Amenemhat"; the "Amen" part of his name having escaped the vigilance of the Atonists. He has obviously taken up his father's profession. Immediately behind him, leaning against the catafalque, is the wife of Ipuky, Henutneferet, whose name has fortunately been preserved. She presumably takes the place of Isis, because, like the one at the front, she helps to steady the load. Then come two unidentified ladies (their upper bodies now lost) the first also has her arms raised as if to steady the load, but she isn't actually close enough, so perhaps she has her arms raised in supplication. The female behind her again scatters dust over her head. Finally come four other relatives, all holding canes, indicating their function. These together with the four in the register above (which by rights should total nine) represent the "nine companions" who by custom bring up the rear of the procession.

Upper register

This register is almost identical to the one below it, but intended this time for Nebamon. It has however suffered a great deal of damage. (See also the upper register of )

In front, four cows pull the catafalque (that of Ipuky only had two). This time, they are preceded by a small calf (see ) and yet again the imagery overflows on to the north west wall. The girl who announces the arrival of the cortege (who on the register below is on this wall) has been placed there, on the north-west wall, probably from lack of space. The ritual of opening of the mouth foresees the presentation to the mummy of the foreleg of a cow, the khepesh, and it is likely that it is one of the beasts pulling the sledge which will have the sad honour to provide it. But representations exist in some tombs and on papyri of calves being mutilated whilst alive, with the front member being cut under the knee, in a way being the "hand" of the young animal. Nadine Guilhou thinks that this is a metaphor representing the ablation of the hands of Horus by his mother in the tale of Horus and Seth.
The reality of this mutilation in the New Kingdom remains doubtful (but what should one think of the scene ) : besides its cruelty (which is only a point of view, maybe anachronistic), it seems economically unjustifiable; what can an animal do with only three paws? Moreover, we do not know of any text describing the vivisection of the calf. Besides, the calf is sometimes - as here - represented non-mutilated. So it could make reference to a former ceremony, which could have been very real. Most often, there is also a cow desperately mooing, unhappy with her mutilated calf.

Behind the cows is the priest, who was here (as in the register below) erased by the Atonists. He was followed, this time, by at least three characters (possibly intended to be side by side) holding the towing rope. The area which should have included the catafalque and the accompanying people is totally lost, and would have been very limited, but the left-hand side is still occupied with the other half of the "nine companions". So it is unknown what the actual detail may have been. Behind the catafalque, together with any mourners, may have been Tepu (Nebamon's father). Very little remains of the text, but it was possibly similar in content to that of the register below, and it undoubtedly mentioned Nebamon in place of Ipuky.

Thus, the two men chose to duplicate this scene which was so important for them.

The north-west wall

This is again divided in three parts.

The first part comprises the top two registers, of which the left-hand sections are to some degree a continuation of those of the west wall, plus an area on the right which extends to the height of these two. These two upper registers are more religious than the one immediately below, and includes the passage into the underworld. It is not only about assuring the eternal provision for the two deceased, but also to show the full importance of their social status, indicated by the size of their cortege, by the number of participants and by the abundance of funerary furniture, etc.

The second part is the next to bottom register, which like the top two, is to some degree part of the same level register of the west wall, includes the profane part of funeral ceremony, with the installation of the officials and the rituals practiced on the bodies.

The final part the bottom register, which concludes the journey by water and has already been described above.

The two top registers

(see )

As already stated, these are effectively divided into two areas: the continuation of the two upper registers of the west wall, then, extending to the height of the two registers, they conclude with a scene of homage by the two deceased to Osiris and Isis. This whole area is extensively damaged, which was also true at the time that Davies created his line drawing.

Left-hand end of the two registers.

The upper register begins with the remains of the leading girl who announces the arrival of the cortege with the help of a pair of castanets. On the lower register she was seen on the west wall (see ), where her full image was intact, here however only the upper part of her head survives.
Some distance in front of her, two porters carry offerings on dishes, but only small fragments of them now exist. The contents of the space between the girl on the left and the two men is now a mystery, but possibly contained more porters. The register ended with the image of a false door facade, erected on a mound of sand, behind which stands a goddess, identified by Davies as the Goddess of the West (see ).
The lower register starts with a group of female mourners, casting dust over their heads (see ). Whatever existed in front of them is totally lost in this register until the image, as above, of a false door facade on the mound of sand (see bottom left of ). This time, however, there is no goddess behind it.

Thus both registers end in the subtle passage between the two worlds, and it is also here that the offerings will be set down so that the kas of the two men can partake of them before progressing through.

Right-hand end of the two registers. After having passed through their independent portals, the two deceased are portrayed in a single register. This is again in a very fragmented condition. Here Nebamon and Ipuky pay homage to Osiris and Isis. The remainder of the offerings, which have been stacked on a table, are still visible. Only parts of a speech still survives above Nebamon - in which he is specifically named - but which may also have originally included Ipuky. The sections which do still exist mention Osiris, Wennefer, Geb, Isis and Nephthys. In front of Ipuky are two short columns of text, which could be the end of the now fragmentary speech. Being more intact it is easier to read: "Satisfied by the superb rising of every day, by the sculptor of the Sacred Place, Ipuky, justified.".

The structure in which are the seated figures of Osiris and his sister/wife resembles the one which sheltered the couple Amenhotep I and Ahmes-Nefertari on the south-east wall. Supported at back and front by columns of papyrus. The roof is of a multilayer design topped by a frieze of uraei and a long sky hieroglyph. Located in front of Osiris are the remains (the stems) of lotus at the summit of which were probably the Four Children of Horus, often found located in front of Osiris. So little remains of the god making it difficult to describe him in detail, except that he wears a red shroud covered with blue circles, which can still be seen on his legs. He also wore an atef crown with the two side feathers, a small portion of which still exists. The cubic throne on which he is seated presents an interesting aspect, being in the form of a colourful palace facade palace centred by a false wooden door. The goddess seated behind him is named as Isis in the fragment of text located in front of her headdress (see detail from ). This allows her to be distinguished from Hathor, who also wears the same type of crown. However, the intimate relationship between these two goddesses is well known.

The two bottom registers

The actual bottom register has already been discussed and included the journey by water. In the section at the bottom of this wall, the cortege arrives at the west bank shore and then travels along a normal road in order to reach the front courtyard of the tomb. Here the funeral rituals take place, which in summary include the ritual of the opening of the mouth and the eyes.

The next to bottom register

(see upper part of and , and middle of ).

On the left, four small buildings, used by the tired participants to cool themselves in the shade, are added in two sub-registers. These are each attended by a man and contain any necessary provisions. Similar ones are found towards the right-hand end of the bottom register.
Between the buildings at the top are two short columns of text which give the occupation and name, "the sculptor, Nebnefer", of someone who has made his own personal tribute to his dead master, and emphasised it by the addition of the image of a slaughtered animal, in black, at the base of the offering table.

At the time of Davies, the four structures were followed by a group of mourners (see top left of ). To see these today it is necessary to go to the .

After another area of lost detail (to the height of the register), the activity takes place outside the entrance to the tomb. First, on the left, are three official priests performing rituals before two upright anthropoid coffins. These coffins are deliberately non-differentiated, so that which belongs to which deceased is a secret. At the far right-hand end, behind these, is the beautifully decorated entrance, in front of which is a tall floral decoration and behind which is a standard, indicating that it is entry to the west.
The following will firstly deal with the three officials, then the two upright coffins and their associated attendants, and finally the tomb entrance and standard.

The three officials stand one behind the other, not because they actually stood in line, but in order to show the order of their part in the proceedings. On this occasion the scene is accompanied by good descriptive texts, although a section has been lost above the second official, taking with it the head of this man and that of the one behind him.

The first (one the right) performs one of the fundamental rituals of the ceremony, the libation, with the help of a vase (lost by another small damage). The representation is typical, with two streams of water, each of which flows out then downwards over the respective coffin. Between the two descending parts of the streams is the text from the beginning of the ceremony, starting: "Formula of the opening the mouth, at the first celebration on the statue, his face being turned towards the south, read aloud at the ceremony of entering of the tomb." The text continues, after the area of damage, immediately in front of the first official: "… of the north wind, your face being turned towrds the south. A shroud encloses you. Your face is the face of the burial chamber (lit. the house of gold) . A royal purification (because) the king is pure.".

Behind him is the second official, identified in a horizontal line at the bottom on the text, as "His son Amenhotep", who holds in his hand the ntjryt-adze (the "divine" adze) of Anubis, the instrument specifically used for the opening of the mouth, the eyes and other openings of the face. His speech (abridged by the scribe) proclaims: "Your purification is that of Horus, and that of Horus is yours; your purification is that of Set, and that of Set is yours; your purification is that of Thoth, and that of Thoth is yours; your purification is that of Djedy, and that of Djedy is yours; your purification is that of Sepa, and the purification of Sepa is the purification of the Osiris Neb (amon] and the purification of his ka.". Davies thought that this text is actually a continuation of the previous one, and that the total refers to both officials, who he also thought that perhaps the same person performs the two different functions, but in different attire. (Sepa, mentioned in the text above, is a centipede god protecting against the stings of snakes. One day an article will possibly be produced on Osirisnet, about a relationship which exists between the legs of the bug and the legs of the porters in processions.)

Between the first and second officials, the artist has represented, in miniature, the different objects used during the ceremony, as well as the black chest which contained them (see ). These include: a censer, a hook, adzes, chisels, vessels, vases, etc.

Third in line was a lector priest, who holds in his hands a white papyrus scroll (the papyrus is very clear, it is only over time that it has yellowed) on which is written: "The scribe and wab-priest Pa[sa]nesu, opening the mouth […]". However, a different name is inscribed in front of him: "the scribe Parennefer". This is almost certainly the Pasanesu (alias Parennefer), which was found among the men of the workshop. The text which is above him is difficult to read, with some dubious phrases: "… a snake which is destroyed for you (presumably the deceased) , because you are in the continuation of (the god?) […] joined to the red crown, joined to the white crown.".

Next followed another lector priest who was probably dressed in a leopard skin, which is presumably the reason for him having been totally destroyed by followers of Akhenaten. What remains of the text behind him states: "Thoth, master of the divine words" and promises defeat his enemies. In front of him, of which only a small part remains, was a pile of offerings, over which he probably poured purifying water.

The two black upright coffins, securely fastened with golden bands, are of a type which had existed since Thutmosis III and would die out after Amenhotep III (the coffins of Yuya and Tuya, the in-laws of Amenhotep III are the best known examples of this). Each wears a false beard and a dark blue wig, thus imitating lapis lazuli, surmounted by an ointment cone. Each is supported from behind by an anonymous priest with a shaven head and is accompanied in front by a magnificent floral composition.

At the foot of each, squatting in front, is a weeping woman, but a sensitive difference exists between them. On the left, is represented "his sister Henutneferet" (as she is named), in the aspect of a rather old woman, with flabby breasts, with tears flowing down her cheeks presumably highlighted by the greyish colour from the dust which she throws on her head and which has dirtied her dress. She touches the foot of the coffin with her right hand and displays the signs of great tribulation (see ). In contrast, the woman on the right is a lot younger, and appears almost indifferent. Her dress is clean, and even if tears are visible, she doesn't make a gesture of mourning, merely touching the feet of the coffin. She is unnamed, which poses a problem. The explanation is probably that Henutneferet moans before each of the two coffins, the girl on the right is simply a surrogate so that the space didn't remain empty. It is thus necessary that the two coffins are anonymous, which is actually the case.

The tomb is represented not only in the form of a false door, but also in the shape of the facade of the entry of the chapel, very solid and immaculately white (see also for now missing detail). A lintel carrying two mirror images of the name of the offering formula "hotep-di-nesu" either side of an ankh sign. The lintel is supported by two blank stone doorposts and surmounted by a coving, thus forming the entrance. The opening is closed by a wooden door (which the artist has represented using vein marking). At the centre is a small panel showing the deceased making offerings to Osiris.
Above, in the wall, a small niche has a stela showing a kneeling figure of a man with arms raised in prayer. Above this is a decorative frieze including four superimposed rows of funerary cones (examples of which, though not from this tomb, can be found in the , in Boston). The high part has a curved shape, and the whole, seen in hindsight, has the shape of a stela, with its false door (see ). It doesn't have a pyramid above it; this will only appear in the Ramesside period. The entry is flanked, on the left by a large erect floral bouquet and on the right by the emblem of the goddess of the West (which today could possibly have been replaced by a signpost), with at the top of a pole type structure the hawk of the necropolis holding a feather in its claw, This is accompanied by the words: " (Here is) your house […] in the West, your place of eternity.".