(See .) This chamber is magnificently preserved, almost in its entirety, and with its vivid colours appears to have only been painted yesterday.

The entry corridor (see ) opens up in the east wall, towards the northern end. Its arched ceiling again (like the stairs end) has a flattened end, in order to allow for the position of the long top horizontal text border, which extends around the chamber. The text of this, however, does not flow continuously in one direction. However, even on the end walls, this border continues at the same height. The main axis of the chamber, roughtly north - south, is slightly rotated. It measures 4.75m in length, 2.24m in width. The chamber has a vaulted ceiling, the top of the arch being along the main axis, is 2.17m to the top. The actual vaulting begins at the top area of the side walls, thus they are not fully upright. The room was originally lined with mud bricks, then covered in plaster. As stated previously, the scenes of the walls are separated from the floor by a banner formed from two thick lines, yellow-ochre and red, each bordered by narrower black lines.

The two long walls of the chamber. These are both divided into four scenic areas, each corresponding (in line) with the four areas of the arch of the ceiling directly above. They are are separated (vertically) with broad yellow-ochre bands edged in black. On these broad bands are black texts which are separated from the black borders with a fine red line. Above these, is the broad band already mentioned, again containing black text with the red limiting lines. The scenic areas have a white background with the figures of the characters and all the hieroglyphs produced in the same yellow-ochre, but all edged and highlighted with red lines. The texts are not necessarily related to the scenes which they border. The east wall is dedicated to Ptah, accompanied by Ma'at, Anubis and the gate keeper. The west wall is dedicated to Osiris and the divinities who come with him.

The two end walls, have an arched, semi-circular, upper area. The one at the south is dedicated to Anubis, standing at the side of the mummy, which in sequence certainly comes before the scene of the north wall. This north end one is reserved for Thoth and the weighing of the heart.

There exists in the chamber many references to the duality of Egypt, divided between the north (Ptah of Memphis) and the south (Khnum of Elephantine). There is a more manifest will of Nakhtamon to be under the protection of the triad of Elephantine, Khnum, Satet and Anuket, because it is a question for him of being identified with the Nile. The source of the river is in the cave of Khnum, which is held under his foot. When he rises it, this is the arrival of the floods and water springs whilst bubbling from the level of the first cataract, bringing life back to the entire country.

The east wall

The panels are dealt with from left (north) to right:

Panel 1

This is occupied by an anthropomorphous guardian god, turned towards the entry. He is designated as "The master of the Ma'at, the great god who resides in the west". Wearing a skullcap (making him look like Ptah), he also wears the attributes of gods and kings: a hooked beard, a tight-fitting vest in colourful squares, a Shentit loincloth fastened with a belt from which hangs an Isis knot and to which is attached a bull's tail. He holds in the right hand a knife and in the left a branch of palm. Strangely, the top of this branch appears like the tip of a spear (see ).

It can easily be seen, in the image opposite, that this guardian is placed in a strategic position. Just as Sokar (with whom Ptah will merge), he was guardian of the Memphite necropolis of Rosetau, he defends not only the entry to the chamber, but also the justified deceased and the goddess Ma'at, who are situated on the north wall, behind him, and who are not separated from him by a column of text.

To the right of this first panel, in the yellow-ocre band, can be read: "An invocatory offering which the master of Ma'at, the father of the gods, gives. That he may give life, health and strength for the sculptor's ka, the servant in the place of truth, Nakhtamon, justified".

Panel 2

(see )

The yellow band at the junction with the entrance is an invocatory offering formula addressed to Anubis.

In this panel can be found a curious image (but not unique) of Anubis in the form of a god with the head of a ram, thus looking like Khnum.
The decorator has subtly associated the name of Anubis, classic initiator of the deceased in the tomb, with the image of Khnum - master of the caverns (Krrt) ; equating to Ptah, who is on the other side of the door.

Here the deceased is the father of Nakhtamon "The Osiris, Piay". He wears a short wig surmounted by a cone, as well as a heart amulet around his neck. Note should be made of the difference in proportion between the small head and the large body, a manifestation of the Ramesside mannerism. The man holds his right hand on his left shoulder, a sign of greeting and humility. Anubis-Khnum grasps his left wrist to encourage him to begin his journey.
An examination of the image of the ram god, the artist's talent can be seen, how he has not made this hybrid being into a monstrous being (see ). He is clothed in a tight sheath-like garment descendant to his knees and carrying a tail of bull, attached to the rear of his belt. His ram head is surmounted by an uraeus, a solar sign allowing to establish also a relationship between the nocturnal sun and Osiris.

Panel 3

Separating this panel from the previous one, the yellow band contains the following text, which this time faces right (see ) : ) : "Words spoken: the blessed of Hapi, (the) Osiris, sculptor of the Lord of the Two Lands, in the place of truth, Nakhtamon, justified".

Here "the mistress of the house, Neferetkhau" presents a Hathoric sistrum to Ma'at (its sound is supposed to encourage love). This scene (according to Davies) represents the mother of Nakhtamon, the wife of Piay.
She is clothed in a beautiful pleated and fringed ample dress and with a large tripartite wig, with braids, on top of which she wears the ointment cone and a headband decorated with an open lotus flower. It should be noted that the artist miss-aligned somewhat the necklace (see ).

The goddess, designated as "Ma'at, the daughter of Re, mistress of the sky and she who is in the west", is clothed in a slim dress supported by shoulder straps, which reveal her naked breast. In her headband are placed two feathers, a reminder that, in this context, Ma'at is double (Ma'aty), a new example of duality. In her left hand she holds a ankh-sign of life, whilst in the right she grasps the was-sceptre of power. It should be noted that the draftsman has changed the axis of the staff, which would normally have the curved top facing the holder. At the goddess's feet is a small table, on which is placed a libation ewer, and lotus flowers, both open and closed.

Panel 4

The yellow band, to the left of this panel, is nearly identical to the previous one, except that this time the deceased of panel 4 is under the protection of another son of Horus, Qebehsenuef (see ).

The scene takes place in front of the god Ptah and adjoins the south-easterly corner of the chamber (see ).

Piay makes an incense offering to Ptah. He wears the now usual cone of ointment on a short wig. His broad necklace is only shown on one side of his chest in order to be able to represent the two chains, comprised of rounded and oblong pearls, from which hangs an udjat-eye pendant (see ). Piay presents to Ptah a brazier, where can be seen wads of incense being burnt.
The god, "Ptah, master of the Ma'at, sovereign some Two Lands" stands on a Ma'at sign, under a canopy whose rounded roof is supported (at the front) by a column with a top in the form of a djed pillar. At the rear, the pillar top is the form of the hieroglyphic sign of bread. Ptah has his body sheathed in a shroud, out of which protrude his two hands clutching the staff, at the top of which is a composite emblem of djed, was and shen glyphs. He wears a skullcap and a long beard with a broad feature at the end (see ).

The text of the final yellow vertical band of this wall, like Ptah in the preceding panel, faces northwards. It proclaims "Words spoken: in the south you rest, (the) Osiris, sculptor of the Lord of the Two Lands, Nakhtamon, justified.", typical of the monochrome tombs of Deir el-Medineh (see the ).

The west wall

The panels are dealt with from left (south) to right:

Panel 5

The text of the yellow vertical band, to the left (south) of the imagery, is almost identical to that of the one on the opposite side of the chamber, the one associated with Ptah. Here the signs again face northwards, in the same direction as Osiris, depicted in the panel.

In this scene, Nakhtamon, as sem-priest, makes a libation to Osiris.

Osiris, the great god of the underworld, faces north, as did Ptah on the opposite wall. Osiris also stands under a canopy, his body sheathed in a shroud and wearing the atef-crown. He holds in his hands the two emblems manifesting his power: the crook and the flail. At either side of his legs is an 'imuit' fetish-symbol, comprised of a vase in which stands a pole, to which is attached an inflated animal skin. This fetish is sometimes called "Son of the hesat-cow". This skin is supposed to contain the liquids recovered at the time of the mummification.
Above the curved roof, standing guard, is the wadjet cobra, the guardian goddess of Lower Egypt, but which is also a patron of the necropolis and who resides in the Theban Summit.
In front of Osiris stands Nakhtamon, who wears the feline skin of a sem-priest over his long garment. He wears a short wig with twisted ends and a trapezoidal goatee beard. He appears to be pouring, with his right hand, a libation from the vessel on to plants located at his feet. His left hand is raised in a sign of greeting. His accompanying text states: "To make a libation for the ka of Osiris, who is in the Duat, by sculptor Nakhtamon, justified". This text, for some reason, ends with the glyph of "Lower Egypt".

Panel 6

The vertical yellow band separating this panel from the previous one, has a text which faces south (left). It makes reference to the third child of Horus: "Words spoken: revered by Duamutef, (the) Osiris, sculptor of Amon, Nakhtamon, justified" (see ).

Here is a scene illustrating the duality and the uniqueness of Egypt. The deceased sovereign who advances northwards is designated thus: "The perfect god, sovereign of the Nine Bows (= the traditional enemies of Egypt) , Lord of the Two Lands, the Lord of the apparitions, Amenhotep, justified, by the great god (= Osiris) ". This is therefore about the deified Amenophis I, particularly revered by the community of craftsmen (see ). The king is dressed impressively and holds a heqa-sceptre to his right shoulder. His wig is surrounded with a ribbon fastened at the rear and extending down his back, with an uraeus at the front. It wears a composite crown with a strong solar connotation.

The sovereign is escorted and protected by two goddesses standing behind him (see ). The first is "Wadjyt", who wears on her head a modius (normally she is portrayed wearing the red crown of Lower Egypt) from where emerges an uraeus. She encloses her two protective hands on the king's shoulders. Behind her, stands "Satet, mistress of Elephantine", easily recognisable by her headdress comprised of a white mitre of Upper Egypt either side of which are two gazelle horns. She was the consort goddess of Khnum, master of the Cataract, and therefore the "mother" of Anuket. In a rare gesture, the goddess not only protects the king, whose elbow she holds, but also strengthens the action of Wadjyt, with whom she seems to almost merge, whilst placing her left hand on her shoulder.
Thus is renewed the necessary union between Upper and Lower Egypt, guaranteeing the functioning of the terrestrial world and the underworld.

Panel 7

The yellow vertical band to the left of this panel proclaims: "Words spoken: the one blessed by Amsit, (the) Osiris, wab-priest of the Lord of the Two Lands, Nakhtamon, justified". Amsit is the fourth of the Children of Horus and is portrayed above this panel, on the ceiling.

Again the imagery evokes of the union of the Two Lands. It is possible to consider that the scenes of panels 7 and 8 could be combined into one. This time the association of Tauret (for the north) and Anuket (for the south) is portrayed.
Tauret ("the great") is a protective goddess of pregnant women and childbirth, very popular in spite of her frightening aspect. She combines a body of a pregnant hippopotamus, limbs of a lion and a tail of a crocodile. Making this representation rare, her head of hippo is replaced here by woman's head, wearing a very large wig fastened in place by a ribbon band, from the front of which is an uraeus and on top of which is a modius headdress (see ). She is one of the protectors of the young Horus, who will be found in the following panel (see ).
The image of the goddess Anuket in this chamber is rare in that it allows the nature of her crown to be identified. It is comprised of feathers, not of palms, which extend from her crown, around which is fixed a ribbon fastened at the rear and extends down her back (see ). She protects Tauret, by aid of the ankh-sign of life held in her right hand and to the was-sceptre which she clutches in the left, and which can be seen crossing in front of the body of Tauret.

Panel 8

(see )

The yellow vertical column on the left, this time places the deceased under the protection of Anubis.

The couple Nakhtamon and Nebuemsheset greet Hor-akhty. They walk as if from the north wall, located behind them, from where they were associated with the justification (where they were proved to be truthful) of the courthouse and the test of the weighing of the heart. Both of the couple are bare-footed. He wears a long pleated skirt, overlaid by a pleated apron and has a short wig. He has four bracelets, one on each wrist and one on each upper arm. Both of his hands are raised in supplication to the god facing him. She wears a long and beautifully fringed wig, held in place by a ribbon with two lotus flowers. Broad bracelets, formed of pearls, are on her wrists, whilst others surround her forearms (see ). One of her hands is raised, the other holds a small bottle.
The couple greet the falcon-headed god who stands in front of them, designated as " (Re) Hor-akhty, the great god, Lord of the Duat". The god is surmounted with a large solar disk surrounded with a snake, as if having eaten it, the sign of an eternal renewal, of triumph over death. In his hands he carries the ankh-sign of life and a was-sceptre of power.

To the right, the final vertical yellow-ochre column concludes the wall. The text, which in its own way reflects the one at the opposite end of the wall, states: "Words spoken: in the north you rest, (the) Osiris, servant of the Lord of the Two Lands, Nakhtamon".

The south wall

(see )

1) - The lower panel

The scene takes place in the tent of purification ((sH-nTr). Its triangular roof is separated from the horizontal band of hieroglyphs by two bouquets. These serve as motifs of replenishment, but also to convey the idea of rebirth, and as a reminder of the festivals in which the deceased wishes to participate.

The mummy of the deceased lies, head to the west, on a bed of mummification, inside an anthropoid coffin. Anubis with his jackal head, leans over the coffin. He lays his warm hand on the deceased's heart, whilst in the other he holds the adze with which he gets ready to open the deceased's mouth. The text above the scene states: "Words spoken by Anubis, who is in the place of embalming: Victorious (is) the Osiris, servant of the Good God (= pharaoh) , wab-priest of the Lord of the Two Lands, Amenhotep I, justified Nakhtamon embraces you for all eternity". It should be noted that "justified" is written before the name of the deceased, which is most unusual.
Nephthys, on the right, touches the deceased's head and pours a libation of water from a vessel in the shape of ankh surmounted by a falcon head (see ).
Isis, on the left, touches the deceased's feet (in a very unnatural manner, but it is the convention of Egyptian drawing). She doesn't make a liquid libation because her vessel doesn't have a spout and it has a cone of fragrant ointment. This thus represents a metaphor to signify that she applies a perfume, which flows, from the edge of the vessel, which she holds at the end of a tremendously long arm (see ).

Under the bed, at far right, can be found the ushabti chest containing the canopic jars with the deceased's viscera: surrounded with strips and criss-crossing it are two feathers of Ma'at (or of Shu). Above is the text meaning "Divine". To its left stands another chest containing small human statues (ushabti) (see ) which, in the afterlife, would perform chores and work in the fields in place of the deceased, thus allowing him to live an afterlife of relaxation. The chest is in the shape of a primitive shrine of Lower Egypt, on which is inscribed the deceased's name and his office as sculptor. Above the chest the legend simply states: "shrine of Lower Egypt" ("itrt").
Next, between the legs of Anubis, is a round mirror, a symbol of Hathoric beauty, intended to stimulate the deceased's reproductive ardour. Finally, two calcite vases which, according to the text, contain myrrh, then oils or unguents.

2) - The arch

This is separated from the lower panel by a yellow band, which contains an inscription extending from near the middle. On the right side, the shorter of the two texts: "The Osiris, Nakhtamon, justified". On the left side: "The Osiris, Nakhtamon, his sister (wife) , the mistress of the house, Nebuemsheset". Perhaps the artist should have packed the signs closer to make them fit better.

The arch is occupied by the kneeling figure of the goddess Isis, facing east, with outspread wings suspended beneath her arms. Above her is the following text: "Words spoken by Isis, mistress of the sky, sovereign of the gods: that you are given the south (i.e. Upper Egypt) for eternity". On each side is an udjat eye, from which emerges a cobra spitting its venom, but here it is intended to be protective.

The north wall

1) - The lower panel

On the right-hand side, is found Nakhtamon and Nebuemsheset who, after their entry in the chamber, head towards the hall of judgement. The two deceased advance, arm raised towards the balance. The image of Nebuemsheset is preserved much better than that of her husband (see ).
In front of them, in a typically Egyptian reduced scale, is the goddess Ma'at, also very damaged, but part of her mutilated text survives: "Words spoken by Ma'at, daughter of Re, mistress of the sky […] against your enemies". The goddess's body and the damage conceals one tray of the balance, which would have held the shape of a heart (that of the deceased), whilst on the other is a female hieroglyph (see ) which would normally have been a feather. In the absence of the feather, this must be an image of Ma'at, the goddess represented by the feather. This scale establishes that the heart of the deceased is lighter than a feather; if it is, then the deceased has passed the test and may enter the afterlife, having been accepted as being "true of voice" ("truthful") and therefore "justified".

At the left side, the god Thoth, master of the Ogdoad (eight deities), in his shape as the lunar baboon, carrying on his head the full and crescent moon. He is identified as "the scribe of the west", and holds in his right hand the scribe's material which is going to serve him to record the result (positive, as always) of the weighing; whilst his left hand stabilises the movement of the balance (see ). In front of the scribe's palette is a curious symbol, possibly equating to an "m", because it is found used by Amenemuia, as the second "m" in his name , in his tomb, TT356 (recorded by Meeks, "paléographie").

Thoth is seated on the roof of a building, to which he must have reached by the eight steps (again a reminder of the ogdoad). The building could be his temple or the entry of the tomb.
On each of the uprights, either side of the central entry, is located a baboon, traditional worshipper of the raised sun. The one of left stands on a basket with a star in front of him indicating that he is in worship. This image rests on the undergrowth of plants of the north. The text at the top states: "The gods greet you". The imagery on the right upright, almost identical, rests on the plants of the south and the text states: "The gods acclaim you". Thus, both Upper and Lower Egypt pay homage to the rising sun and, by extension, to the deceased.

2) - The arch

Of a similar design to that of the south wall, the arch of this wall is separated from the large lower section by a yellow horizontal band, bearing a symmetrical text, extending from the centre, but of much more equal lengths. The right-hand side is very damaged. To the left, the text states: "The Osiris, who is revered, the Osiris, the sculptor of Amun". Here should be noted that the deceased name is omitted. To the right the beginning of the text is lost, leaving only: "[Nakht]amon, justified".

The figure of the goddess Nephthys, facing east, kneels between two inwards facing udjat eyes, only this time there are no emerging cobras. As with Isis on the south wall, spreading from under her outstretched arms are wings. The text above her states: "Words spoken by Nephthys, mistress of the sky, sovereign of the Two Lands: I come to embrace you for eternity" (see ).


An idea of the grouping can be obtained from the two old combined images of Bruyère (see left). It can be seen that the ceiling is divided into eight boxes, four on each side, distribute on both sides of two large bands of text, which occupy the summit of the arch, running from north to south (see , and ).

The bands of text

As with the two side walls, the boxes have end bands of text. All the bands are again yellow-ocre and carry black inscriptions, just as the ones on the side walls, and again have inner red lines. The distribution of these bands can be in the two drawings (above) of the east and west walls. The yellow bands, which vertically separate the panels of these two walls, then continue between the panels which form the two sides of the arch of the ceiling, until they reach the summit of the arch, where they meet two back to back thicker bands. These separating bands of the ceiling carry short simple inscriptions more or less conventional.
A horizontal band is located to the junction of the wall panels and those of the ceiling, surrounding the whole room. The texts of the ones on the south and north walls have already been dealt with. Those of the east and west longitudinal bands start at the northern extremity. The one of the west is an invocatory offering to Re-Horakhty - Atum - Khepri (therefore all the forms of the sun) as well as to Hathor. All are to the profit of Naktamon and his wife. The texts of the eastern band are addressed to Ptah and Anubis, to the profit of Nakhtamon and his father Piay.

The two long central bands

Each column of text is edged along its two sides by two black lines and a middle red line. At the centre, between the two columns, the two are separated by the same three lines (see ). Both set of texts face outwards, towards the appropriate side wall. The west band is dedicated to Nakhtamon and the god Osiris, and the east band being dedicated to his father Piay and the god Ptah.

The west band : "An offering which the king grants to Osiris, who is at the head of the west, to Wennefer, king of the living, that he grants a perfect life to the one who is faithful towards him, for the ka of sculptor Nakhtamon; his son Piay, justified; his son Nedjemger, justified; his son Baki; his son Pached, justified; his son Ankhau; his son Penkhnum; his daughter Henut-shenut, justified; his daughter Webkhet, justified; his daughter Nedjem-hemsi."

The east band : "An offering which the king gives to Ptah-Sokar, the great god, Lord of the Shetayt, Lord of Ro-setau, that he grants that my name stays in the place of eternity. For the ka of sculptor Piay, justified; his son Ipuy, justified; his son Neferrenpet; his son Khonsu; his We; his daughter, whom he loves, Sahti; his daughter, who he loves, Henut-Mehyt, justified."
In these texts the scribe has used two forms of hieroglyphs for "his son" and , also two for "his daughter" and . This way of writing either of the second versions is unusual. Could the oval be the artists brief way of drawing the duck, in order to fit the space available?

The four central boxes

The four central panels, which are grouped in pairs, concern the Four Sons (or Children) of Horus, Hapy, Amsit, Duamutef and Qebehsenuef, to whom a is dedicated, therefore their symbolism will not be dealt with here. It should be noted that they all have an uraeus on their head, that of Amsit being much bigger than the others. They are all seated on the bevelled sign of Ma'at, and hold an ankh sign.

The four children of Horus

These east side boxes

The boxes are dealt with from left (north) to right:

Box 1 : Thoth Ibis

This overhangs the panel of the guardian god and half of the entry. The interpretation is delicate. The god Thoth with the head of an ibis, is therefore in his lunar variant, but nevertheless, he wears on his head an erect solar cobra. He is mummiform and holds an ankh sign of life. The text is related to chapter 162 of the Book of the Dead, very special to Deir el-Medineh, with the sun (located in the bottom right corner) centred with a black spot, representative determinative of the enemy.
The vertical band behind the panel, in the north-east corner, proclaims: "Words spoken: in the north you rest". The text faces south, as do all the others, except the final one which faces north.

The band in front (right) of the panel: "Words spoken: the blessed, the Osiris, Nakhtamon, justified".

Box 2 : Hapy

(see )

This overhangs the panel with the ram-headed Anubis. Hapy has the head of a baboon, surmounted by a solar cobra. He is surrounded by the text: "Words spoken by Hapy (to) the Osiris, the sculptor, Piay, justified".

The vertical yellow band in front of the panel: "Words spoken: blessed by Hapy, Nakhtamon".

Box 3 : Qebehsenuef

(see )

The god with the head of a falcon is surrounded with the text: "Words spoken by Qebehsenuef (to) the Osiris, who hears the speech of the master of time (rather than of eternity), in the domain of Osiris, Piay, justified". It should be noted that this panel and the next one are the only ones to be surmounted by the sky hieroglyphic, but which is the nocturnal sky, since it is punctuated by stars.

In front of the panel, the column proclaims "Words spoken by Qebehsenuef (to) the Osiris, Nakhtamon".

Box 4 : The Great Cat of Heliopolis

This representation is an extract from chapter 17 of the Book of the Dead, the whole of which states: "I am that great cat beside whom the ished-tree was split in Iunu (Heliopolis) on that night of active battle, and keeping guard against the rebels on that day on which the enemies of the Lord of All were destroyed". The cat is identified as Ra himself.
This assimilation of the cat with Re and his confrontation with Apophis, is found in many other funerary compilations. In the text above the three bends of the snake, it is identified as: "Apophis, enemy of Ra". It should be noted that the determinative glyph of the name on Ra in the text, is the sun centred by a red point. Like the determinative glyph of the snake's name in the text, the body of the snake is riddled with stab wounds, from where blood flows out, whilst his head, in which is a large cut, is fixed firmly on the ground by the paw of the cat. This feline creature is identified as "The Great Cat, who appears in the image of Re".
The great fight occurs again every night, and according to Corteggiani: "Apophis, the eternal enemy of Re, must be forever averted, since not having been created, he escapes all definitive destruction and can, every day, endlessly repeat his attacks against the course of the sun".

Why is there this closeness between the cat and Re? The cat of ancient Egypt, was different from present day cats, it was a killer of snakes, liking to hunt at night. Besides, in Egyptian there is a connection between the word for cat "miw" and the sound it made; they thought that these things owed nothing to chance.
Something special worth noting is the face of the cat, which is so special, the oddity or even bizzarness, however, is also true with the one found in the famous scene found in another tomb of Deir el-Medineh, TT359 of Inerkhau (see ). The two are different, the one in Nakhtamon's tomb smiles whilst killing the snake.

The yellow vertical band, which is in the south-east corner, mirrors the one at the north end: "Words spoken: in the south you rest" (see ).

The west side boxes

The boxes are dealt with from left (south) to right:

Box 5 : Horus

The vertical band to the left, in the south-west corner, again has: "Words spoken: in the south you rest". Here the text faces north, whereas the texts of the other columns of this side face south.

The panel, appropriately positioned above the image of Osiris (see ) shows the falcon god, with gigantic paws from which rises the uraeus wearing the Double Crown (the pschent). This represents Horakhty, "Horus of the Two Horizons", as represented by the two oval mounds of sand seen behind his head. The text says: "This is Horus, son of Osiris, who gave Isis to the world, Wennefer, the great god". Note that it is one of the features of monochrome chambers in relation to the multicolour ones, that there is no assimilation to the Golden Falcon, nor any form of transformation from the Book of the Dead.

Box 6 : Duamutef

(see )

The yellow column to the left (south) of the panel, proclaims: "Words spoken: the blessed, the Osiris, Nakhtamon, justified".

This Son of Horus is represented in anthropomorphic (human) form, with the long, hooked false beard of dead gods, accompanied by the text: "Words spoken by Duamutef, (to) (the) Osiris, sculptor, Nakhtamon, come to raise your two arms above of you, for eternity".

Box 7 : Amsit

(see )

The yellow column, left of the panel, has: "Words spoken: the blessed, the Osiris, Nakhtamon", which unlike the previous one, does not have the word "justified". It does however have a fuller glyphic form of the name Osiris.

The image of the god is almost superimposable with the previous one, with a text that proclaims: "Words spoken by Amsit (to) (the) Osiris, sculptor, Nakhtamon, justified by the great god".

Box 8 : Anubis

The yellow column to the left has: "Words spoken: the blessed, the Osiris, Nakhtamon, justified", but again with the fuller glyphic form of the name Osiris.

This panel reaches the north-west corner of the wall (see ). A vague smile is on the lips of the full jackal form of the god Anubis (see ), who is squatting on the roof of a temple or the tomb. It wears a sash around its neck, and a flagellum sticking from its back. The text of the panel says: "Words spoken by Anubis, who is to the head of the Divine Pavilion, the embalmer of the Sacred Land: I came in front of you to provide you protection for all eternity".

The final vertical band, in the north-west corner, has: "Words spoken: the blessed, the Osiris, sculptor, Nakhtamon, justified".


The tomb had been robbed extensively, as Bruyère discovered. However, many diverse fragments were recovered, but all beautiful pieces, such as a wooden shuabti casket, currently in the Metropolitan Museum of Art (see opposite) had already disappeared. The casket is 32cm in height and 18cm in width. The text includes the names of both Nakhtamon and his wife, Nebuemsheset.

Chamber B, which acted as a storage area for the pillagers, contained some very damaged mummies, one of which could have been that of Nakhtamon. Pieces of his funeral mask have been recovered, as well as remnants of packing boxes of Nebuemsheset. The tomb also contained elements of the funerary furniture of Neferrenpet, which should have been in his TT336 chamber.