The passageway measures about 12m in length, although it is only 1.20m in width and 2.35m in height at its entry. Of the two sides, the decorated zones occupy a height of 1.45m. They are situated between a frieze of khekeru of about 0.20m at the top of the wall and an uninscribed dado area 0.70m at the bottom. The dado is separated from the decorated area by a series of broad horizontal bands: at the top a light blue one, then yellow, red and finally white (see ). The body of the scenes are edged at the top and the two sides with the traditional "Egyptian" frieze, made up of coloured rectangles, delimited by two fine black lines. A leopard-tail pattern, in black and white, was possibly placed behind the vertical borders at each end of the two walls (see ). However, only that at the west end of the south wall is shown in the line drawings of Davies. They do appear at the ends of the walls of the chapel, which is entered from the west end of the passage.
For convenience, the numbering assigned to the different zones of the wall by Norman de Garies Davies (NdGD) will be followed, which corresponds to the plate numbers, and begins with number 3. These plates are also the only means to analyse the numerous scenes which are too damaged, this damage being confirmed by the photographs.
The wall starts with some superimposed agricultural scenes, very badly preserved (NdGD speaks of a
"lamentable state") for which no photos are available (see ).
The first part of the activity is located on the bottom register: the grain is mature and the harvesting begins. It is however worth noting that the actual ploughing of the land and sowing of the seed is shown in the bottom register of zone 5, and the final scene of storage of the grain is located opposite, on the south wall, in the bottom register of zone 15. Both will be described later. Two slightly bent men each hold a handful of stems to be cut with the sickle held in the other. A third man, his tool under his arm, raises both of his hands, to drink from the crock which he holds. A woman collects the ears of corn which have fallen on the ground.
Above, two porters bring a large net filled with the crop, suspended between two long poles, toward the area of threshing, which is close to the villages. There, to separate the actual grain from the straw, the Egyptians often used oxen and donkeys, but here the latter are absent. The ground of the area is probably of hardened clay so that the hooves of the animals are more efficient. Naturally, it is necessary that the beasts turn in concentric circles to different rhythms, the one nearest the centre hardly moving, whilst the one at the outer edge having to keep a fast pace. It requires much effort by the men assigned to maintain them in line. As the threshing progresses a raised wall of straw is left on the outside.
On the third register, is the next stage. The peasants remove the thickest of straw with a pitchfork. It is now necessary to separate the fine grain from the straw residue and the chaff. This is carried out by three workers, consisting of two young girls and a man. The girls have their hair tied at the back of their head by a white cloth to keep out the dust, the one on the left wears a short skirt, whilst the other wears only a short loincloth which falls around her buttocks. The man stands up to his knees in the heap. The girl on the left picks up the corn with a pair of scoops, and lets the wind carry away the chaff. The man keeps the heap together by use of twig besoms. The girl on the right is either also winnowing the mixture or she is gathering the corn into a measure. On the right, a goatskin is suspended from a sycamore tree, whilst resting on the ground is a small crock, thus keeping the food and drink in the cooler shade.
The fourth register, at the top consists of the remains of a scene of a chair with armrests, the legs of a seated man and the remains of his staff. In front, stand three in women, the two at the rear stand close to each, side by side, carrying a sort of flail over their shoulder.
This includes two face-to-face scenes, which have existed in private tombs since the 5th Dynasty (the first known occurrence is in the , at Saqqara, see ) : hunting of birds in the marshes and fishing with a harpoon. The representations of Antefoqer practising these two activities have been covered with a pinkish plaster then the surface was grooved which didn't even leave a trace of the sketch.
The small papyrus boats are intact and are separated by tall papyrus reeds, reaching almost to the top of the register. They appear full of life, showing two ibises perched on the umbels of the papyrus; the one on the left being seated on its nest.
The scene to the right would have shown the vizier launching his throwing stick at the fowl on top of the undergrowth. Still surviving is part of the scene showing that one stick has reached a duck, whilst one duck escapes in flight.
In the scene to the left, he would have appeared propelling a long harpoon with a double barb into a "mountain of water", a term dedicated by the Egyptologists to designate the manner chosen by the draftsmen to represent a branch of the Nile. Without a doubt, he would have harpooned two different fishes: a Tilapia and a Lates (for more of detail on these two fishes, see ).
These scenes of hunting and fishing don't only have the objective to describe the pleasures to which the deceased is supposed to aspire to in the beyond, they essentially have an apotropaic value (the ability to ward off evil). The marsh represents an unordered and uncontrolled place for the Egyptians, the domain of undomesticated animals, where at work are the forces of evil (isfet) which puts in peril the deceased's rebirth in the beyond. Thus, Roland Tefnin speaks of fishes as
"metaphors of the malefic forces". It is a question of preventing these bad forces, those of the chaos, of disorder, of disrupting the second gestation of the deceased in the breast of the mother goddess, whose amniotic fluid is assimilated into the waters of the marsh.
It is impossible to say if Antefoqer was alone on the boats, or accompanied by a woman, which would have constituted an important element nevertheless for the assignment of the tomb. Indeed, these representations have an erotic, subtle character but real, the wife being supposed to awaken her husband's sexuality, so that he can be reborn of his own work, imitating by it Osiris. The vizier has thus been erased here in these scenes regarding the above point and his post-mortem future.
The forces of disorder are also present in the stream in the form of dangerous hippotamuses, who try to capsize the craft; but they remain confined in the depths. Other fish are found there, recognisable for example is a Mormyre, with its curved snout.
This includes two types of scene with no apparent relationship. The upper one is of the capturing of birds and fishing, both using a net, whilst the one below is an agricultural scene.
At the top, above the upper scene and thus extending over zones 5 to 10 (, , and ), is a long inscription giving an extensive list of his titles:
"Catching fish and netting birds in the papyrus pools and taking his pleasure in the various delights which the marshland affords. The noble prince, chancellor (= seal bearer)
of the king, unique friend, dignitary of the king of Upper Egypt, dignitary of the king of Lower Egypt, superior of all dignitaries, guardian of Nekhen, priest of Maat of the twenty nomes, who is in the palace, superintendent of the residence city, judge of the supreme court, superintendent of the Six Great Courts, confidant of the king by his execution of justice, Antefoqer, the blessed one, son of Senet, [He] says: 'I have come from my city: I have left my nome. I did what men desire and the gods approve. My lord placed me in front of all the notables as judge over all the land, because of his great love for me, in-as-much as I did right for my lord who praises me.' ".
Unlike the previous scenes, that have an essentially metaphorical significance, here it is about showing a very real activity, practiced on a large scale by many servants of the master. To save space, the decorator collected (in an ingenious manner) the two opportunities to use a net in the marshes, for fishing and for water-fowling. He confined the areas of hunting inside a blue rectangle (which is very well preserved), surrounded by a white rectangle, thus producing the semi-aquatic environment and its banks.
Fishing (see and )
The artist represented as many fish as possible, of all the species which were known to him: Lates, Mormyre, Tilapia, Bentasoda, etc. On the bank, ten men, divided in two groups of five, work hard to pull the ropes of the overloaded net, to try to retrieve it from the water.
Separated from the net by tufts of reeds and papyrus, and therefore invisible to the birds, three men (in the reality they would certainly have been more) have just pulled strongly on the rope, closing again the trap. The net is of the usual rhomboidal shape. It is impossible to understand how it truly functioned by looking at the image. According to Montet, 'it fell on the fowl, generating panic'. (See and ).
The scene, the central part of which has disappeared, remains static. However, some birds are agitated, some heads pass between the netting, but many others seem immobile (see and ). In the right upper corner, two lucky ducks fly off, while from the opposite side, a third stands on the edge of net. The two lower corners are occupied by pairs of herons (or ibises), apparently indifferent to what is happening, those of right argue over a fish, whilst one of those of left searches silt with its beak. The would-be empty areas are animated with geese, ducks, and flamingos.
Situated below the previous scene, with which they form a striking contrast - but showing in both cases much detail - are the scenes of ploughing which should have logically preceded the harvest scenes of zone 3. Limited by the restricted space of some walls, this obvious disorganisation didn't shock the ancient Egyptians, and it certainly doesn't prevent the magical power of the images to exercise, in the beyond, benefit for the deceased.
Two pairs of oxen each pull a plough. On the right, the pair of oxen turn their heads, and one of them bends a knee, but two men one to the rear with a stick, the other in front pulling a rope attached to a horn, don't have any intention to let the beasts take a rest. With each team, a peasant pushes on the plough, a light tool which normally only permits scratching the surface of the land. Fortunately, here they are working the flexible silt of the Nile, which the ploughman on the right is working with just a primitive hoe. At the far left, a sower scatters the grain into the newly formed furrows.
The scenes of these zones concern hunting wild animals on the fringe of the desert which borders the Nile valley. They complete those of hunting with the throwing stick in the marshes. They also constitute a royal privilege of the time of the height of the Old Kingdom: the hunter's skill, his capacity to lead fruitful campaigns, are part of the qualities which one who controls Egypt must possess. This is why the main power of the time - probably to avoid bad surprises - reserved this activity only to the sovereign. In the mastabas, individuals are only spectators who watch the king in action. The total area is subdivided into three parts: top left is the figure of Antefoqer, facing him (at top right) the area is further divided into five sub-registers; at the bottom is a single register extending across the two upper areas. The text mentioned in zone 5 extends across the top of these two zones.
In the 5th Dynasty, the rise in progressive power of the aristocracy accompanied a parallel decline of royal prestige, and nobles can be seen engaging in these activities. As already mentioned, the first proof of hunting and fishing in the marshes can be seen in the mastaba of Niankhnum and Khnumhotep. It is necessary to wait for the First Intermediate Period, when the nomarch Ankhtifi is represented with a bow and arrows, hunting in the desert (see ).
In fact this is not actually in the desert, but in the zone of dry savanna around the river, which at that time was more widespread because the climate was more humid. Vegetation amounted to a few sparse bushes represented in blue-green (time has modified all the greens, here as elsewhere in the tomb). The area is bounded by the erection of nets on stakes, shown at the vertical edges of the area. The hunters took advantage of undulations of the land to set their devices in place. It was then that they, with the help of their packs of hounds, could herd the game towards this trap, where the master only has to shoot his arrows, by preference on the most prestigious animals. His servants take care of the smaller prey, as well as the beasts which he wanted to capture alive.
The vizier Antefoqer
To the left of the hunting ground, Antefoqer is represented in majestic size (see ). Clothed in a simple loincloth, he wears a round wig which was originally black. A large usekh necklace spreads on his chest, and he wears a bracelet of coloured stones on each wrist. He gets ready to shoot into the crowded stockade his sixth arrow (made of reed and whose point is probably of bronze) from his bow, which is bent to its maximum. The bow is of a composite structure, as shown by it being painted in two colours bands, yellow and red (see ). Nevertheless, practically no composite bows of Egyptian origin have been found, the known ones were imported from the Levant. Behind the vizier, whose image has been perfectly preserved, advances an attendant who carries a spare bow and, on his shoulder, an axe which probably served to despatch any wounded animals.
The background uses different superimposed hues of light chestnut, rather than just one plain colour. Nina Davies created an exceptional composite picture (see opposite), which can be compared with the actual photos of the scene (see , , , ).
The area containing the hunted animals consists of five sub-registers, which will be dealt with from bottom to top.
– Bottom sub-register: a slim dog, similar to a greyhound, with a curled up tail (a "sloughy") traps a wild goat by the hind right leg, which is about to fall to the ground. Its (the goat's) companion runs away. In front of these is a white female oryx which bends a knee on the ground: fear makes it stumble.
– The second sub-register is special: it appears to have been added subsequently, because it is distinctly of less height than the others, and soil is represented as nearly flat. Only animals of small or medium height are represent: hyena, jackal, hedgehog, wild cat and two hares (who run away). If it was not for the fact that the second hyena is trying, with its paws, to pull the arrow which has planted itself in its muzzle, one could believe that these animals are not part of the game, and that they are here to represent the wildlife of these regions (see ).
– Third sub-register: one of the dogs seizes an unfortunate oryx by the paw, sealing its fate. The graffiti, now hardly readable, above the head of the dog (see ), is . Three gazelles attempt to flee, but the second has been seized by the nose by a dog (see ). Note the hare under the rear-most of the three.
– Sub-register four: immediately opposite the opening through which the next arrow to be released is pointing, a wild bull is the only animal to tempt to rebel (see ), as it tries to protect its mate, which turns its head toward him, and the calf. It is the most prestigious prey, symbolic of the very power of the hunt and the prestige which expresses itself in the beast which, bent, defeated, attacked at its rear by a dog, collapses to the ground.
– Top sub-register: a bubale (with a hedgehog under it, see ) seized from behind by a dog, and a deer (with branched long horns) are transfixed by the excellent shooting of the archer, Antefoqer, whilst two other deer run away. A gazelle has been seized at the throat by a dog and lies on its back, already dead - or nearly.
Servants bring provisions and drink for the hunters to the shade of a tree, very close to an irrigation channel (see (). Their leader, a bow in his hand, waits for them there (see ). The baskets or nets containing vessels of drink are suspended from poles carried by the first four porters. The
"superintendent of the workshop, Antefoqer" (obviously named after his master) carries a bag on his right shoulder, and on the other he carries a stool (see ). Like his co-worker in front of him, he is clothed of a long loincloth with, on the left thigh, a kind of purse. The legends, written in a cursive script, are now nearly illegible. The second porter, from the right, the
"servant, Semen" transmits the message given to him by their leader:
"Come, men! They (= the hunters)
are calling.", and the one who follows him adds:
"Lengthen the stride, am I… [?]. The fourth man is possibly named
This section of the wall groups together, on four registers, the preparation of food and beer in a succession of small scenes, of which the layout is not always chronological. To the right is a composite view. All these scenes are well described in the work by Madeleine Péters-Desteract (see bibliography) which is referred to for additional details (see , and ).
The butcher shop is on the top register, on the left. The men work there, safe from the sun, in a building open on the outside, whose roof is sustained by papyriform and lotiform columns. Two butchers work hard on the ox, one extracting the ribs, the second cutting a rear leg from the animal. The pieces, for which additional help is used, are then suspended on ropes fastened between the tops of the columns. The part of the meat which is to be dried requires thin pieces; on the other hand there is no evidence shown of salting, although this practice is manifested elsewhere.
Outside this area, the two men who work facing each other, seated on a low seat (possibly stuffed with papyrus), are both occupied with their work on flat slabs: the one on the left cuts meat, whilst the one on right seems to lightly tap the pieces with a stone; Madeleine Péters-Destéract thinks that this represents the tenderising of the meat before cooking the pieces which were a little hard, but one can also imagine that these two men are thinning the pieces destined for drying. The accompanying text is nearly illegible and could make reference to the adding of fat (see ).
To the right of this scene can be seen a man leaning over a large container, to which he adds with his right hand a piece on a bone, whilst with the other, he stirs the soup with the aid of a stick. This represents the boiling of the meat, one of the two ways for the Egyptians to consume it, the other being to roast it. Notice that the container (certainly of red fired clay) rests on a white furnace, the question is: where are the embers and what is the means of ventilation.
Next comes the roasting of poultry, of which the work conditions seem better than in the Old Kingdom. The height of the brazier no longer obliges anymore to remain squatting before it and a new model of fan helps to stir the embers. The gutted and plucked fowl is skewered on a wooden stick, but there is always the difficulty in understanding other details of the cooking process. The bird rests directly on the embers, which seems impossible unless the idea was to char it. It is necessary to suppose therefore that the man holds it at arms length during the whole time of cooking. This seems reasonable when it only represents small poultry, but it is perplexing when in the tomb of Ukhhotep in Meir is a similar scene with a large goose, where the roaster comments
"I am on fire since the beginning of the world. I have never seen a goose like this one!" (see ). Nevertheless, the system using a skewer was used, since it can be seen represented to the right in the cooking of a large piece of meat. On the right, behind the man of this tomb (that of Antefoqer), a man approaches with two possibly empty dishes, either bringing spices or herbs to perfume meat or, more probably, waiting until the end of cooking to carry away the pieces, we will never know (see ).
The scenes of bread and beer making are frequently intermingled, because bread is not only destined for normal consumption, it is also used to make the beer instead of grain. Thus the sequence of the registers appear in a strange order, especially when following the zone numbering of Davies. They begin with the middle one of the three (i.e. register three, but the upper one of zones 11 and 12).
Register three: preparation of flour from grain (See and )
It is necessary to start with this register (the middle one of the three dealing with the making of bread and beer), because it is here, on the right, that the work starts, with two men who crush the grain in a wooden container (see ). The one on the right orders:
"Down!", to which his fellow worker briefly replies:
"I do as you wish". A woman then passes the crudely crushed grain through a sieve into a tray to remove husks, and her female companion then grinds it still finer with the help of a grind-stone, over which she leans (see ). The process had improved since the Old Kingdom, and the flat stone, on which the grinding is carried out, is placed on a wooden bench, to raise it and also to slope it forwards (in other tombs it is made of raw bricks). Also, the device includes a separate compartment at the front in which the flour collects. The white heap of flour can easily be seen. The woman doing the grinding exclaims:
"Can all the gods of this country give health to my powerful master!"; whilst the one opposite her says (in what remains of the text above her) :
"… this is for food".
On the left are three women, their names given in a less artistic script than the text above it, perhaps an after-thought: (on the right) the
"handmaid, Ipi", then the
"handmaid, SatepiHu" and facing her,
"her daughter, Satintef" (see , , and ). Ipi, on the left, prepares some rolls of dough in her hands and seems to add something of a red colour. Satintef and her daughter knead the dough in large jars, of which the colours of the sides of these container can be seen to be marked by the overflow of the mixture. Satintef takes some of the mixture and fills the ten conical moulds with it. These conical moulds are very narrow, in order for the mixture to cook very quickly. The three hold the conversation written above them. Ipi says:
"Exert yourself for your dear lord; for the time to deliver (the batch) is come". Whilst Satintef tells her mother:
"Finish (lit.: 'make it happen')
the moulds", to which she replies:
"I do as you wish", whilst she can be seen placing her tenth piece of dough in the last empty pot (see ).
Behind the daughter sits a man in charge of the oven, on which the conical containers have been placed. This is of a more elaborate model than in the Old Kingdom, and includes an opening for the fuel. Other difference: the pots, which don't have any lids, are stacked horizontally, head to foot. The area, represented by the artist above the pots, indicates the flames. Nevertheless, the man pokes the embers with one hand, whilst with the other he protects his face from the heat, isn't happy and complains:
"This firewood is green, but I am earning a blessing from heavenly god" (see ).
The questions arises, is this batch of bread destined for eating or for the preparation of beer? The answer is not obvious because, as already stated, all the scenes of the bread making and beer making are in a confusing mess. It can be seen that this register is placed between the one above, where the manufacture of bread for eating is obvious, and the one below, entirely dedicated to producing beer. The activities which are described here can apply to both.
Register two: the bakery (see )
The activities are under the control of a foreman. He stands, with his staff of authority in his hand, encouraging his workers with the words:
"[Men of the] workshop, prepare what is due to his Ka". The man on his knees in front of him is shaping some of the dough into flat cakes, two of which are ready for cooking, shown circular above the one he is working on, answers:
"I do as you wish. I am hard at work". It can be seen by comparing the current state of these texts with the corresponding drawing created by Davies, that they have now nearly became invisible, as in many other places.
A man carries the flat soft dough in a red-brown mould towards a hearth which a fellow worker is poking into flames below a copper griddle. The mould is placed on this, where the dough will quickly cook (see ). The fire controller has almost disappeared in a large area of damage, as has the character behind him who leans over a large pot, possibly sifting flour destined for fellow workers behind him.
The first man directly behind makes a round loaf of a more solid sort, such as those still bought in this locality today. Obviously feeling ignored, he says:
"… None of you will give me (lit. 'make for me')
The next two men knead the dough in a large vessel made of yellow clay, by one of two methods: apparently either by treading in the vessel or mixing it by hand; whilst at the very end, another worker cooks the bread made by the first of these last four, turning it over (it has already partially cooked, shown by the fact that it is brown in colour) on a bed of hot ashes, which he rakes together with a poker (see and ). The bed of ashes has the appearance of being part of the desert.
These last three men hold an interesting conversation, now partially lost or hard to read:
"See how strongly the fire glows!",
"Don't let your thoughts wander from it, but attend to the cooking.",
"Why, I'm close to it, and don't move?".
We are therefore in presence of one of the exceptional representations of actual cooking in the Middle Kingdom.
Register four: the manufacture of beer (see )
As in all Egyptian tombs, the process of beer manufacture is not represented in its entirety, therefore, its sequence remains poorly understood, and the names of some of the ingredients have always been in debate. Several stages are missing here, such as the preparation of malt and the crumbling of the bread in water, to produce the alcoholic fermentation.
Some dates are added during the preparation, but it is uncertain exactly when they are added. Were they macerated to make a date wine, which was added later to the beer, to increase the amount of alcohol? Were they mixed with the dough? On the right, a man bends down and mixes a mash of dates at floor level, grumbling as he works:
"This mass of dates which has come from the granary is old. If only I can use them up (to finish my work), then luck will have befallen me" (see ). It is well understood that it is distinctly more difficult to make a mash with old and hard dates than with fresh and tender fruit.
It is reasonable to assume that the man who plunges his arm in a large jar is stirring the bread, malt (and dates?) mixture, ready for fermenting. Obvious enthralled (a joke!) with his job, he says:
"My lucky day". It is therefore made from more or less course dough. It would be the role of the man to his right, leaning over a sieve located on top of the jar to break it up before adding the water. The worked mass on the sifter is called "
srmt" in ancient Egyptian, and holds any one of three meanings: "foodstuff, beverage and ale", and is certainly both nourishing and savoury, with a taste of beer. A child, clothed simply in a waistband, approaches with a bowl in his hand, and begs:
"Give me of the srmt, I am hungry!". He is severely dismissed:
"Let the hippopotamus take you, you and the one who gave birth to you, you who eat more than the king's servant when he ploughs! You are full! (i.e. 'well fed')
". In fact, the young boy does seem to be slightly in overweight.
The various and indispensable stages of filtration are not shown, and the scene passes straight to the scene of storage of the finished product in jars, on the left-hand side of the register (see and ). A man pours with a small vase into a pitcher on a pedestal what can only be "concentrated" beer, which is then diluted according to the required strength, or it could be the final strength which is already in the large jar, waiting to be decanted in the pitchers destined for consumption. Four of these have been placed on a rack after they have been stoppered and arranged by a character who may possibly register the date on his square tablet hanging from his belt (see ).
"Presentation of gifts of his domains, on the occasion of the festival of the New Year."
The gifts in question, which it was usual to offer at the time of certain festivals, are essentially those from the craft industry. This is why the prayers are addressed from the dual divinity Ptah-Sokar. All of the gifts are for the couple, Antefoqer and his wife, Satsasobek, who are shown standing in the final zone. Ptah was the creator-god of pottery, head of the craftsmen; Sokar was another god of craftsmanship and metamorphosis. Ptah-Sokar also represents a very important funeral divinity, to which will be added Osiris from the Third Intermediate Period.
This is surmounted by a line of text (now very faint) :
"For your kas, oil of myrrh, which Ptah mixed, which the Lady of Punt transported, which the director of the Necropolis refined and which Sokar liquified with its fingers. Silver, gold, lapis lazuli, turquoise, carnelian, [bronze?] and all kinds of true precious stones from the house of Osiris".
Four patterned vases stand on a chest (maybe more inside). They are carefully sealed in order to preserve the perfumes and ointments which they contain. A fifth vase is presented to the couple by a servant. On the following chest are represented (somewhat oversized) two pairs of bracelets and two necklaces, neither of which appear to have any counterweights. The third scene is very damaged, although a dagger can be recognised, a skirt decorated with strings of coloured beads or pearls, two necklaces made of oblong and mixed pearls of different colours. Again, a servant holds a pendant or bracelet.
This is also surmounted by a line of text, of which only the first part has survived, the rest being very faint:
"For your kas, a gift which Ptah-Sokar gives by (as intermediaries)
the hands of all his craftsmen, lapis lazuli [turquoise, … An]tefoqer, as well as cloth which the king has rewarded you […]".
On top of a chest with a triangular lid, are usekh necklaces and a menkhet pendant. Another necklace, which a servant holds by the fastenings, is presented to the couple. The cloth, which is mentioned in the text, is in a chest with a rounded lid, which is transported by two men - and/or in the damaged area with occupies the remainder of the wall. The legs of another chest and those of three characters can still be seen under the damaged area.
Two women, probably Satsasobek's handmaids, each wearing a blue necklace on their chest, a tight fitting dress slung beneath theirs breast, bracelets on each wrist, and holding a lotus flower their left hand, face the couple. The first (on the left) presents a mirror made of copper with an ebony handle, whilst the second one brings a blue vase.
Behind them, resting on the jewelry chest of the vizier, is a somewhat oversized hieroglyphic sign for gold, in shape of a necklace. The vizier's seal, blue with gold fastenings, rests on top. This object seems to be attached to a small gold and ivory box, which itself seems to be attached to the main one beneath, no doubt to make sure that it is not mislaid or stolen. This seal, which is sometimes seen around the neck of the viziers, served to seal the official documents.
A servant, possibly Antefoqer's servant, brings a small casket, perhaps this is the actual one, in real size, of the extremely large version shown in front. Next is a large chest, on which are piled weapons and bows, whose representation is partially lost, but the two shields and curves and twisted ropes of the bows can still be recognised. Above are two quivers of six arrows and two slings. Lying on the very top is the same sceptre which the vizier holds in his right hand in the next zone.
Finally, ending the procession, two men carry the materials of a scribe, the large container of the first being a cylinder holding rolls of papyrus.
The items of the craftsman are now finished, as this register represents new offerings, those for the mouth (i.e. food). A man first advances with a large leg of meat. Then a second carries two geese and keeps the beak of one of them closed with his hand (see ). The next one does the same with a crane. At his side walks a calf guided by its drover, walking behind it. Next, a young boy leads an ox with long horns. At the very end of the register is the scribe who keeps a written record of these generous presents.
At the extreme left, finishing the decorative area of the north wall, are found the recipients, Antefoqer and Satsasobek, the only woman in the tomb to be explicitly designated as his wife (
Hmt=f) (see ). Their images occupy almost the whole height of the registers. The major loss is to the body of the wife, the damage is due to fragments falling from the wall. He wears a short kilt over which is a semi-transparent longer garment which protrudes at the front. Over this he wears a panther skin, usually attributed to a sem priest or a priest of Ma'at. He has an usekh necklace and bracelets on his wrists. Finally, he has a band of cloth, worn diagonally across his chest from his left shoulder. In his left hand he holds his staff of office and in his right he clutches the large sekhem sceptre, also a symbol of power.
Behind him (and to the same scale) Satsasobek wears a tripartite wig, clothed in a long tight-fitting dress, and bracelets on her wrists and ankles. On her chest, can be seen an usekh necklace and the upper part of a pendant. Only part of her left hand remains visible, in which she holds the open lotus flower to her nostrils.
Above the couple is an inscription in two lines:
"Seeing the gifts the day of the Festival of the New Year, coming from his domain, all manner of silver, carnelian, lapis lazuli and turquoise, all good things in great quantity, for the noble, the royal child (or godchild?)
, superintendent of the city, The one of the curtain, superintendent of the Six Great Courts, Antefoqer, justified (and for) his wife, whom he loves, the priestess of Hathor, Satsasobek, the fully revered".