This is the first of the rock-cut chambers. Its northern, first half was probably the full extent of the original tomb chapel, ending at the point where the double entrance to the offering chapel now begins. Its height is 2.05m, with a width of 2.25m and a final length of 7.6m. Compared with the chambers of the stone built mastaba portion of the complex, the ceiling suddenly appears extremely low. Only the upper 1.25m of the walls contain the image fields, the lower 0.8m being the undecorated dado.
The north wall is punctuated on its west (left) side by the doorway leading back through the passageway into the open courtyard. The doorway is wider than the actual passage, in order to take the inward opening door, which comes to rest against the west wall.
The decorated area is divided into four registers of roughly equal height and are devoted to scenes of the winnowing, sieving, storing and recording of cereal crops. Like many walls of the mastaba/tomb, they are to be read from bottom to top. However, they are not all necessarily to read in the same direction, i.e. left to right. The scenes are actually the final stages of the harvest which starts on the north end of the east wall.
The lowest register shows the winnowing and sieving of the grain by three women, their tasks are individually titled (left to right) as
the barley by the agricultural worker". This wall does not show the action of trampling the corn to release the grain from the husks and chaff. At the right, a man rakes away the unwanted chaff with a long three pronged fork. The grain on this register is all labelled as barley. At the left hand edge, the work is overseen by an official.
In the next register corn measures are filled from one of two large piles of grain. The scene, which is only rarely shown within the grain harvest, consists of two virtually identical images, from which the left represents a mound of barley (
jt), the right a mound of wheat (
bdt). The two men filling the measures are overseen by the "crier" (
nxt xrw), who calls out the number of measures to the "scribe of the granary", who isn't shown on this register. The measured grain would then be filled into sacks.
The next register shows the scene after the grain has been measured and filled into sacks. It shows four men carrying the sacks on their heads towards the left; the one at the front has already reached his goal and lifts the grain sack from his head aided by another worker standing in front of one of seven granaries ().
The top register depicts the final phase. The accounting for the quantity of grain is made by four village mayors of Upper Egypt, called before the scribe of the house administration. They are all portrayed as older men standing reverently before the scribe. An official, who has presumably summoned them, walks behind them. After the accounting with the village mayors, the list is handed over to the superintendent, who crouches on the ground at the right-hand end of the register. The title of the scene is given at the top as :
"Recording of the grain. A counting of l000 (sacks of) wheat and a counting of 100 (sacks of) barley.".
The east wall of the antechamber is the longest decorated in the tomb. It appears as two large image areas, each subdivided into four registers of uneven height. The lowest register is separated by an off-centred offering niche, thus making giving a somewhat different division. The far outer edges of the wall have the standing figure of one of the two deceased, Khnumhotep looking south (at the northern end) and Niankhkhnum looking north (at the southern end). They stand at the height of the top three registers. The inner edges, at the centre division of the wall, have the two deceased comfortably seated, Niankhkhnum in a sedan chair being carried north (in the northern section of the wall) and Khnumhotep in a normal chair looking south (in the southern section of the wall, behind his brother) ; these are again at the height of the top three registers. The north section (width: 4.04m; height: 1.25m) contains the scenes of agriculture and harvest, which extend to the left-hand side of the fourth register. The south section (width: 3.56m; height: 1.25m) contain images of work in the place of the craftsmen in the upper three registers; the fourth register contains a parade (by thirty females) of the domains, which extends into the northern section of the wall, as far as the right-hand side of the niche.
This section of the east wall is bounded by Khnumhotep (standing on the left) and Niankhkhnum (seated on the right) inspecting agricultural work. It is punctuated at the centre of the lower two registers by an offering niche (width: 1.09m; height: 0.52m; depth: 0.52m). This creates a strange division of the lower register, the area to the left shows a scenes connected with the rest of the northern half of the wall, but to right starts an independent scene belonging to neither of the groups, that of the parade of thirty females.
Khnumhotep, left, is accompanied by his eldest son, Ptahshepses, () who holds his father's staff of office and again appears naked (as in the entry vestibule to this chamber). Behind, a servant holds a parasol on a long pole over the deceased.
Niankhkhnum, right, is comfortably installed in a litter () carried by six servants, in the centre of whom is a dwarf named Khednes. The dwarf is represented unclothed and carries a clothes box on his shoulders. Two men precede the porters, the first is a barber the second a funerary priest. The latter has a dog behind him on a leash. The dog, which belongs to the breed of slughi (or saluki), seems to be a favourite dog of the deceased and is called Hekenen. Behind Niankhkhnum are three men portrayed one above the other. The middle one appears unclothed and has a clothes sack thrown over his shoulder. Because he is the only unclothed person in the retinue, if one discounts the unclothed dwarf, he seems to occupy a relatively low position within the ranks of servants of the deceased. The other two men behind the deceased are funerary priests, the top one also being a manicurist and the other a barber.
The agricultural registers.
These registers are to be read from the top (, and ).
The upper register is devoted to work in the fields, to be read from right to left. The first activity is that of ploughing using a team of oxen and tended by the ploughman and two other workers. Following behind is a sower, scattering the seeds into the furrows. These are then trampled into the ground by a flock of rams; to keep them moving, three shepherds walk behind them carrying whips. Finally, on the left, the scene changes to that of harvesting flax: the stalks are cut, gathered and cleared of weeds by three men. These are then carried, after having been bundled and tied, on the back of the next field worker to two others who collect them together.
Underneath, in the second register, reading again from right to left, four labourers are shown reaping a field of corn with sickles; one of them, obviously older and thirsty, pauses to refresh himself, thereby earning a sarcastic rebuke from the overseer who stands to the left of them:
"Hurry up, you tired man!". In the left-hand side of the register the sheaves are then transported on the backs of four donkeys, a young donkey can be seen at its mothers feet leading the procession.
In the third register, which is reduced by the niche, six donkeys are driven back to the field again, in order to transport more bundles of sheaves. The return of the donkeys to the field is not always shown separately in the imagery alongside the scene of the initial transportation. They trot towards twelve sheaves of grain situated to the right, which appear in the narrow image strip over the offering niche, and which are stacked in six rows of two, side by side.
Finally, in the lowest register, which extends under the figure of Khnumhotep, is portrayed a threshing floor, where peasants and oxen are busy separating the grain or threshing the barley. The register begins on the right-hand side, where the sheaves delivered on the backs of the donkeys are stacked by two workers. The grain is finally identified as barley. The central scene is where the threshing takes place using six oxen and not the usual donkeys. The oxen are controlled by two men. At the left end of the register, the trampled grain is stored in a silo by three men, two standing behind it and one at its right-hand side. This is almost always shown in connection with the threshing scene or near the location of winnowing. The winnowing scene is actually located in the bottom register of the north wall and is only separated from it by the vertical coloured ladder band.
Like the northern half of this wall, the top three registers are bounded by the two deceased, Khnumhotep (seated on the left) and Niankhkhnum (standing on the right), watching various craftsmen at work in their places of work ().
Khnumhotep is seated in a high-sided chair which also has a high back support. The legs of the chair rest strangely on small individual platforms (possibly representing ox hooves) and not the usual broad base. At his feet is one of his sons,
"Niankhkhnum the younger" and is shown unclothed and probably his youngest son, named after his uncle.
The deceased's left hand is held out to the right, probably to accept a document which is handed to him by an employee, represented in the second register. The area of the second register, where this employee would have stood seems to have been wilfully destroyed, but above the now damaged area is the inscription :
"Handing over the report about the work of all of the craftsmen.".
Niankhkhnum stands at the south end of the wall. He is accompanied by
"his son, the judge and scribe, Hem-re", at the usual small scale holding the staff of his father (strangely he is unclothed).
At the right end of the top register a man, standing in front of the deceased, reads from an long open roll of papyrus and accounts for the work of the craftsmen. The inscription between Niankhkhnum and the top three registers states :
"Considering the work in the workshop of the entire trade by the supervisor of the manicurists of the palace, Niankhkhnum.".
The craftsmen registers.
These registers are to be read from the top.
The upper register is totally devoted to various stages of the manufacture of a statue. The six scenes read from left to right, the last scene showing the final painting of a large box for the transportation of the finished product. The stages include carving with mallet and chisel (the statue is being manufactured from wood), and painting. At the far right of this register is the afore mentioned reporting of the various works to Niankhkhnum.
The middle register of the three shows the activity within the metal workshop. These are to be read from right to left. The first scene is the smelting of metal (presumably bronze) by four workmen () whose supervisor informs them :
"The air is hot because of your breath. The smelt is refined.".
This is used in the next scene to embed a blade. Next comes the melting of gold to produce gold-leaf, which is then shown being used to plate various items of funerary equipment. In turn these are: a sekhem sceptre, the clasp for a kilt and an official's staff; the final item is a funerary diadem. The left extremity of this register originally contained the afore mentioned report to Khnumhotep.
The third register has the work carried out by jewelry craftsmen (right half) and carpenters (left half). The jewellers are in three stages of producing a large beaded necklace: from the threading of the beads to its final washing with a perfumed liquid. The left-hand half of the register concerns the manufacture of various pieces of wooden funerary furniture: a bed (), a Djed-pillar (), a divine booth (for the statue of a deity) and a two legged back-rest, for when reclining horizontally (). The last scene is of a carpenter sawing a vertically held length of wood.
The parade from the estates.
Located in the fourth (lowest) register of the wall, the above title is somewhat inaccurate because none of the texts, associated with the females bringing the produce, actually contain any indication of location, usually a hieroglyphic determinative for "town" or "estate" , or the standard of a nome. These indicators are found in the Akhethotep sections of , mastaba D64, (). This would indicate that the parade actually represents fictitious estates and is intended to magically provide the two deceased with continual provisions after reaching the afterlife.
The parade extends from the southern edge of the wall to the right-hand side of the offering niche. The procession represented here includes 30 women. They bring a variety of goods alternately to Niankhkhnum and Khnumhotep, starting with Niankhkhnum, on the right. To these thirty women are to added the six appearing on the two side walls of the passageway from the first chamber to the courtyard, so that the total number presenting estate produce is thirty six.
The women are loaded with offerings which they either carry in baskets and boxes on their heads or hold in the crook of their arms or, if the produce is a living animal, held by a leash. They stride towards the right and are all dressed in long sleeveless dresses of either different design and/or colour and all with only one shoulder strap supporting the top of the dress ( and ). In addition to their clothing, they wear a necklace as well as arm and ankle bracelets.
The produce brought for the two deceased includes: breads, meats, beer, figs, poultry, fruits, sweetmeats, onions, vegetables, lettuces, etc.; the live animals include: ibexes, calves, oryxes, gazelles and even hedgehogs in cages.
After viewing the east wall, the image area of this wall is relatively small (width: 2.10m; height: 1.20m). It is divided into three registers, the top one being much taller than the combined height of the lower two. The whole area represents a funerary banqueting scene, with the upper register showing the two deceased surrounded by food and drink, the middle register displaying the instrumental entertainment and the lowest register filled with dancers.
The upper register has Niankhkhnum seated left and Khnumhotep seated right, each with their own offering table filled with vertically standing half-loaves. The central area is filled with a great variety of foods and drinks.
Unusually, behind Niankhkhnum sits his wife Khentikawes, at the same height and on the same sized chair; Khnumhotep sits alone. However, the representation has been changed, certainly at a later date, at the time when the tomb complex was open for cult worship. The picture of the wife has been almost completely erased and the relief cuts of the contour lines smeared with gypsum, although her image can still be recognised in a few places.
For the first time the name formula of the two deceased differs; Khnumhotep is referred to as :
honoured by the great god, whilst Niankhkhnum still retains his titles of :
confidant of the king and privy councillor. From this, it is possible that Khnumhotep is to be understood as already deceased to the time of the last editing of this text. It may also explain why Khnumhotep is represented on the west side of the wall and Niankhkhnum, quite uncommonly, on the east side.
The middle register is filled with musicians seated on the ground and which consists of 1 clarinettist, 2 flautists, 2 harpists, as well as a total of 6 chanters - technically called "cheironomists" (see below) - and a concert-leader standing at far right. The ensemble has separated itself into three instrumental groups. This seems to be an over-indulgence of instrumentalists, but may represent the combined musicians of the two deceased. The only person named on this register is the second flautist (right), he is Ankhredunesut. One of the three cheironomists at the right-hand end of the register appears to be out of step with the others. The concert-master calls to him whilst also giving us the title of the music just played :
"The song, which has just finished, is 'the (song) of the two divine brothers', get with it!".
In the lower register is the dance scene. This may not be connected directly with the music scene above it, but may have followed the music during the offering meal of the two deceased. The register shows two different dances; a male dance portrayed on the left-hand side and a female dance on the right.
The male group consist of three actual dancers in a kneeling position and accompanied by two men standing and clapping the rhythm to their right. The dance is named in the text above the two kneeling dancers whose hands meet :
"Behold, the Teref dance". All five men wear a ribbon kilt, normally associated with field labourers or the like. It is possible that the dance, like their kilt, is also associated with - and portrays - agriculture.
The female group consist of eight dancers who have their arms raised above their head (as if carrying baskets) and move to the right in-line, to the so-called
"strict Iba-dance". The stepping of the dancers takes place to the beat of six women who are represented in two sub-registers at the right end of the register. They crouch in a kneeling position on the ground, clapping their hands rhythmically. These women all wear a plain long dress with a single shoulder strap.
All of the dancers, with the exception of the first (right-most), only wear projecting kilts, but they each have a necklace with a counter-balance. The leading female is the daughter of Niankhkhnum :
"The king's administrator, Hemet-re". She is likewise dressed in a projecting kilt but has a cross-banded arrangement on her upper torso, in addition to the necklace she also wears ankle and wrist bracelets. Her hairstyle is also different, she has a so-called ball-braid style, whilst the others all have a short hairstyle. Since the Iba dance is occasionally performed on the land (in connection with agriculture), then perhaps both dance groups are representing harvest scenes.
This wall of the rock-cut chamber, like the east wall, consists of two large sections. The south section (width: 3.20m) is further subdivided by the two passageways to the offering chamber. The north section (width: 3.70m), which finishes at the position where the door of the entrance rested when open, leaves a 0.90m wide undecorated section at the outermost north end of the wall. The image fields are again bordered by the colour ladder at the sides, with the exception of the very north edge. The decorated areas of the southern section of the wall has its usual colour ladder design and geometric freeze, but there is no corresponding uppermost image restriction on the north section of the wall, there, the image field finishes directly at the ceiling.
The dado area of the west wall (height: 0.80m) is decorated for the first time. It contains four fully executed false doors, which are created in a row from left to right, next to each other, to which a fifth incomplete one has been added further to the right. There are also traces of one being planned in the dado area of the middle pillar between the two passageways to the offering chamber.
The decoration of the south section the west wall takes into account the two passageways to the offering chamber of the tomb, which exit to the west. The two entrances (in each case: width: 0.83m; height: 1.80m) are separated from each other by a 1.18m wide piece of wall, which gives the appearance of a central pillar (). It is decorated with the now famous representation of two deceased embracing ().
A single lintel crosses over the two passageways and the top of the separating pillar, over the entire width of this section of the wall. This contains, in two separate sections, a list of oils for the two deceased.
To the left of the south passageway is the equivalent of a doorpost, decorated with images of three funerary priests, the pillar being the equivalent of the other doorpost. However, there is no equivalent for the north passageway, its northern edge is the beginning of the north section of the west wall, and as such contains the beginning of its scenes, which relate to the two deceased in the papyrus thicket of the Delta.
The oil lists ()
The lintel over the two passageways and central pillar is subdivided into two sections. These contain lists of sacred oils for the two deceased, each starting at a vertical line above the centre of the pillar. The left (south) list belongs to Niankhkhnum and extends over the southern passageway. The right (north) list belongs to Khnumhotep and extends over the northern passageway. The entire list field is restricted by a horizontal colour ladder above and below.
In contrast to the oil list of the offering lists, here the names of the seven sacred oils of the Old Kingdom are not only inscribed but also shown illustrated in containers standing on tables. The oil list is therefore shown as an oil storehouse. In both cases the oils listed are: festival perfume, hekenu oil, pine oil, nekenem oil, tewat oil, best quality pine oil and best quality Lybian oil.
The funerary priests.
To the left of the southern passageway is a narrow section of wall, 0.36m wide, effectively a doorpost (). It extends from under the oil list of Niankhkhnum down to the undecorated dado. This is decorated with three right facing funerary priests, one above the other. They each carry funerary offerings; amounting to various breads, beers, figs, vegetables and grapes.
The central pillar.
The imagery of the central pillar shows the two embracing deceased, Niankhkhnum and Khnumhotep, in the presence of their gathered children. The wives of the two deceased don't appear.
The two deceased face towards each other, with one standing slightly in front of the other. In front is Niankhkhnum, standing left and looking right towards Khnumhotep, who is partially masked by Niankhkhnum. Both deceased are clothed in same manner. They have natural hair, the style of which is more easily seen in the case of Niankhkhnum. They both have broad necklaces and a formal kilt with guilded kilt-corner and belt. Niankhkhnum has his left arm hung downward and holds, with his right hand, the left forearm of Khnumhotep. Khnumhotep for his part holds his right arm behind the back of Niankhkhnum and places his hand on the other's right shoulder. An embrace scene of this kind is extremely rarely, even with representations of the deceased embracing his wife or with scenes of mother and daughter or mother and son.
The inscription behind each of the deceased gives their usual titles and name, but additionally states:
"as well as his children." (msw.f).
The children indicated in the inscription are portrayed behind the two deceased in each case. A similar grouping of family members can often be observed in the Old Kingdom, in which the head of the family normally appears in the company of his wife.
Niankhkhnum's children (three sons and three daughters) stand to the left in two sub-registers behind their father and are portrayed to a much smaller scale (). All are solemnly clothed, with exception of the final son, who is unclothed and shown with the lock of youth. The men wear the projecting kilt, the women the long sleeveless dress and a necklace. In the upper sub-register (right to left) are:
Hemet-re (f) and
Qed-unas (m) ; in the lower sub-register:
Nebet? (her image is damaged) and
Likewise, Khnumhotep's children (five sons and one daughter) are represented in two sub-registers behind their father (). However only the three of the uppermost sub-register are presumably the "physical" children of Khnumhotep, so to speak, since only these are in the official dress resembling that of the children of Niankhkhnum. The ones painted in lower register are shown in a simple smooth kilt and portrayed with various offerings. Even so, they are still considered to be his children. They are, in the upper sub-register: -
Ptahneferkhu (m) and
Rewedzawes (her image is very badly damaged today) ; in the lower sub-register:
Khnumheswef (m) and
Niankhkhnum? the younger.
The imagery of the north section the west wall starts immediately to the right of the northern passageway to the offering chamber. It includes two large image fields, which are apportioned differently and also show different complex scenes. The large image field to the left represents, once more, the two deceased hunting in the papyrus thicket. The one to the right is sub-divided into three registers of different heights. These have scenes from the life of the herdsmen in the fields, as well as of the breeding of the beef-herds. Under both these image fields is a long sub-register which is interrupted towards its northern end by a small offering niche (width: 0.55m; height: 0.30m; depth: 0.35m). The register shows images of jousting in boats during the homecoming of the herdsmen from the fields. Finally, in the dado area, under the fourth register, there are the doors of appearance.
Hunting in the papyrus thicket. ()
The two deceased are shown on either side of a papyrus thicket. Niankhkhnum is portrayed left and Khnumhotep is on the right. The scene is analogous with the representation on the south wall of the first vestibule at the entrance of the tomb. As there Niankhkhnum is hunting after wild birds with the throwing stick and Khnumhotep is spearing fish. Both deceased stand in a striding position in a papyrus boat on a creek overgrown with lotus flowers, powered by a punter standing at the stern of the small vessel.
Niankhkhnum (left) is described as :
"Breaking the wing and/or neck of the waders amongst the papyrus thicket.". He is accompanied by his wife, Khentikawes, who crouches between his legs; and his son, Hem-re, who stands at the front of the boat. Behind the deceased, in a small sub-register, are two assistants. Both hold spare throwing sticks and a wild bird.
Khnumhotep (right) is described as :
"The spearing of the fish in the marsh water is consider more beautiful than all things.". Again his referred to as :
"The one honoured by the great god.", again possibly indicating him to be already deceased to the time of the creation of this text. He accompanied by his wife, Khenut, squatting in the middle of the ship; and his son, Shepsesptah, who stands at the front of the boat. In contrast to Niankhkhnum, Khnumhotep has no escorts. However, in the thicket behind his small craft is a frog ( and ).
Life of the herdsmen in the fields. ()
The scenes to the right of hunting in the swamp, are arranged in three registers. They are of different heights and also of different widths due to the varying junction right-hand side of the activities in the papyrus thicket. The overall image portrays different episodes from the life of the herdsmen : in the first register - craft-like activities in the field, in the second register - the breeding of cattle and finally in the third register - the homecoming of the herdsmen from the field and the related crossing of the ford by the herd.
The upper register is sub-divided into three scenes, to be read from right to left. At the right, in the first scene, three people are making a papyrus mat. The first man braids the papyrus fibres to form the basis of the mat. The following two dust off the fibres and weave the mat. All three are overseen by a supervisor. The second scene shows the making of bread, which is actually read from left to right. A herdsman mixes the dough in a large container, another moulds the loaves and a third bakes them on the fire; he impatiently rebukes the moulder :
"Give it a once, come on". Finally, at the end of the upper register, sits the supervisor in a comfortable chair made of matting. He is handed a flat bowl by the herdsman standing in front of him. The supervisor, characterised by his beard and receding hairline as an old man, accepts the beverage from the herdsman who utters the following words to his supervisor :
"This is agreeable! You will be content with it.".
The middle register is again sub-divided into three scenes and also to be read from right to left. A cow giving birth faces to the right and is being attended during calving by three men (). One steadies the mother, holding her by the horns, a second pulls out the calf, while a third stands behind giving hand signals. In the second scene a young calf is given some milk to drink : this is almost certainly being hand-reared (). Further along, a herdsman is busy milking a cow, in front of which stands its young calf (). The man doing the milking is helped by a colleague, who restrains the cow by a rope binding its hind legs. Finally, to their left, two men are positioned beneath a shelter (). One is butchering a goat, but the other one, identified as the farm foreman Khuy, is comfortably settled and fast asleep.
The bottom register depicts the traditional crossing of a ford by the herd, supervised by
"The supervisor of the funerary priests, the leader of the herdsmen, Ankhreduinisu.". The text reads :
"Leaving the marshy landscape for higher land, by the herdsmen with their products and cattle".. The eight-strong herd follow two papyrus boats, each laden with a variety of goods and several herdsmen.
Jousting in boats. ()
This long register is usually referred to as the "sailor's joust", but in fact they are possibly the herdsmen of the upper right registers returning home, who have taken time out to have a mock battle. Despite the subdivision of the register, caused by the offering-niche, it was probably intended to be considered as a non-stop scene. To the left, in the wide section, is shown the jousting; to the right, in the shorter section (), are represented the herdsmen not involved in the fight. Their boat is heavily laden with a wide variety of goods. From the action of its two punters it is progressing to the right and probably indicated that this is the front edge of the whole register.
In the sailor's joust painted in the wide left section, the number of vessels is unusually high for such fight games between boats, being five in total and manned by eighteen men. The individual boats contain either three or four persons and are laden with all sorts of offerings, which are distributed over the entire body of the boat in each case.
Several (especially those actually involved in the fight) are identified as "barbers" and "manicurists" and also as "funerary priests"; therefore occupational colleagues of the two deceased, who usually travel peacefully on the waterways. This creates a conundrum: The cargoes indicate herdsmen returning home, but the identity of the combatants indicate something entirely different. Is this joust executed in honour of the two deceased, Niankhkhnum and Khnumhotep? Perhaps this is some form of festive sport being portrayed, whose real importance remains a mystery.
The action between the individual boats probably took place side by side and not in a frontal confrontation. It happens in shallow water, which is overgrown with lotus blossoms and which lies near a papyrus thicket, out of which the last boat of the fighting group appears. The punting poles and paddles now become weapons, with which the fighters try to push their opponents from their boat or with them try to score a resounding blow on their opponents. So far no-one has fallen into the water.
The doors of appearance. ()
These are also called "false doors". The dado area of the northern section of the west wall was presumably the full extent of the first construction phase, as shown by the presence of the doors of appearance of the two deceased. Although there are now four such doors, the two which are deepest into the chamber are those of Niankhkhnum (furthest in) and Khnumhotep. The two small ones (to the right), which could be regarded as additional, still have their offering stones laying in front of them. With the post-allocation for Niankhkhnum's family members, those of Niankhkhnum and Khnumhotep served as a starting point for the attachment of further appearance doors in the dado area of this wall. The leftmost of the two additional doors is that of Hem-re, the son of Niankhkhnum, then (to its right) that of Tjeset, the wife of Hem-re.
All four doors are designed as a door frame inside a door frame. In each case, between the two lintels is a scene of the appropriate deceased in front of an offering table. The inner lintel is inscribed with the name and title of the deceased.
Situated in front of the two northern doors, those of Hem-re and his wife, and still in situ at the time of exploration, are their offering stones. They are positioned so that the hieroglyphic inscription could be read on exiting the false door, thus upside down when viewed from in the chamber facing the west wall. The htp-sign (the offering table with a loaf of bread) was sculpted in raised relief, whilst the text is in sunken relief.
Two means of access to the offering chamber are located in the southern part of the west wall, left and right of a central pillar. These, in the widest sense, belong to the antechamber since the doors of the offering chamber lie at the offering chamber end and open into it. The dimensions of both passageways are the same (width: 0.83m; height: 1.80m; depth: 0.67m). All four surfaces are decorated in the same manner, with only slight differences, and contain an image area of 0.57m width and 0.93m height. In each case, these are bordered at the side edges by the so-called colour ladder. The upper border consists only of the geometrical frieze, which is still recognisable on the south thickness of the north passageway. The dado areas remained undecorated.
The southern passageway leads to the appearance door of Niankhkhnum and so, by implication, the content of its walls relate to him. The northern one, which leads to that of Khnumhotep, also by implication, relates him.
Each of the four walls is sub-divided into four registers. The uppermost registers show the parade of offering cattle intended for slaughter; the two middle registers both show a parade of wild game, various types of antelope, also intended for offering. Finally, the narrow lowermost register represents poultry intended the offering to the deceased, including on the north wall of the south passage, a pigeon (). On the two southern walls are (in total) 6 cattle, 10 wild animals and 6 poultry (although the poultry are indicated as being in 1000s) ; the northern walls (in total) 5 cattle, 9 wild animals and 6 poultry (again in 1000s). Once again Niankhkhnum, south passageway, has predominance with the greater numbers. All animals and poultry face into the offering chamber.