Since the days of Davies, the courtyard area has changed dramatically, leaving no indication as to its original size and depth. The tomb is now entered via a set of modern steps just wider than the actual entrance. At the beginning of the 20th century the courtyard was very different (see ), although possibly nothing like it was originally.

The entrance passageway is narrow (less than 1m) but just less than 2m in height. The short length of its side walls are undecorated and the external uprights (also undecorated) are, like the lintel, reasonably modern.


Having passed through the entry passage, the colourfully decorated transverse chamber spreads out on either side, with the entry to the rear chamber directly opposite, in the facing wall. This first chamber, approximately 5 x 1.5 metres in dimension, with a height of just less than 2 metres, is rotated clockwise by about 10º from the main axis. The walls are neither vertical nor completely straight, the two long walls in fact slope inwards with the short side walls being approximately 0.1m narrower at the top. The ceiling is uneven, dipping and curving (see ). The current protective glass, which is also attached to the ceiling, has, as already mentioned, reduced these dimensions dramatically. The current lighting also gives the colours a more unnatural tone. Originally the beautiful colours could easily be seen, as well illustrated by comparing the first two photos below taken of the ceiling, before and after the application of the glass. Another problem is the amount of reflection, giving a very strange effect (see the third image below). Finally, some of the photos have a strange orange/brown tone, which again is due to the poor lighting. So, appologies are given here for these; as said in English: "Anything is better than nothing".


As already mentioned, the ceiling is very uneven, dipping and curving, as can be seen in the view of the . The ceiling was painted with imitation wooden beams, in yellow ochre, dividing and bordering the area into smaller sections, into which colourful matting designs were inserted. In some other tombs these "beams" contain texts, but here there is no indication of such. The beams are edged with white borders, however, for some reason the red centre line seen in the borders of the south bay has been omitted in the northern one. The feature of matting suspended between beams was common in domestic architecture. The zigzag designs used here were typical for this period, three designs, with variants, being used.
In the area delineated between the entrance doorway and that to the inner chamber was a plain pattern of zigzag lines of red, blue and green, separated by white and edged by its own beams. This panel runs roughly at right angles to the other two areas, which are situated above the two sides bays of the transverse room.
The area in each of the two bays has been divided into two panels with a separating central beam, thus giving four zones. The basic design of three of these are very similar and is that of rows of diamond shapes containing four-petalled rosettes, in-filled between the petals with dots. These shapes are separated by zigzag lines of blue, red and green. In two of these sections, the in-fill around the rosettes and dots is ochre, with the zigzag lines separated by white; in the other the in-fill is white and the zigzag lines are separated with ochre. The differing design is in the quadrant above the the south-east corner. This still consists of rows of ochre coloured diamond shapes, but this time outlined in black and containing two further black diamond shapes. These diamond shapes are separated by red zigzag lines, edged in white. Each inner area, which includes the diamonds, is divided into a blues and a green zone.
The ceiling is in very good condition on the northern side and the area joining the two doorways. However, a major portion has fallen from the southern side, western quadrant (see ), below which is the most damaged section of wall.


The image areas of each wall section (the east and west walls being divided by the two doorways) is decoration on their sides and upper edge with the so-called Egyptian border (a colour ladder design) edged with narrow black bands. This border consists of coloured rectangles, the sequence of being green, ochre, blue and red with small white intermediate stripes separating them. At the junction of two walls, the ladder bands were all intended to be edged with a chain or leopard tail design on a black background, and separated further by a blue column situated in at the actual corner. This can be seen on those of the south corners (see ). This isn't the case in the corners of the north end, where the areas remain blank (see ), with no chain design or blue band.
Above the top horizontal border design, the area is filled with the so-called kheker frieze, representing bound bundles of reeds daubed with mud and painted. Although space was left for the frieze on the north end wall, this wasn't even started.
The bottom dado area of the walls (frequently painted black) was left unpainted and was meant to be separated from the main scenes by broad red and yellow stripes edged in black (see ) ; however, this was only completed on the west wall. On the other walls, the bottom of the scene area is merely edged with a black line.