The major loss/damage to this side of the second room is due to the removal (in antiquity) of the decorated cover block to the subterranean burial chambers.
The finding of a decorated, somewhat fragmented, sandstone-plate of 12.5 cm thickness (max. 31cm in height, max. 47cm in width) corresponding almost exactly to that of the recess of the rectangular gap in the west wall, suggests that this was intended to close the opening. The sandstone-plate shows traces of mortar on the back, which are identical to those on the gap in the west wall. Also, since the image-motif corresponds with the decoration on the upper right of the aperture in the wall, it makes it more certain that this was part of the removable cover for the shaft entry, from the time of Neferrenpet.
This loss has affected the last two scenes of the lower picture register and the beginning of the lower text band. There is also some further small damage to the lower text band, at the beginning (north end) of the west wall.
This has only three scenes. The first extends over the north wall and on to the west wall. In each scene the deceased is separated from the representation of the god/s by several columns of text.
There is very little damage or loss on this register.
In this scene of the adoration of the djed-pillar the deceased couple stand in front of a large offering table (ignoring the columns of text between). Although Neferrenpet wears the garment of a lector-priest, the sketch lines show that he should have originally been represented in the usual festive garment. Mutemwia holds a long stemmed lotus blossom to her nose. He entreats the gods represented in the papyrus boat for entry into the beyond.
The offering table is supported by three yellow pillars, among which stand four red, round bodied, vessels (). The offerings are piled on a mat, which is coloured red - blue - white and therefore also represents blossoms. On this are three yellow baskets with red and blue fruits. The red fruits in the right basket have white points. Between and over the baskets are white and yellow breads, over these are flat pieces of meat, the head and legs of a cow and piece of ribs, greens and two white bowls with burning incense. In the middle of the barque, whose stem and stern are beautifully formed from the umbels of the papyrus plant, stands Osiris in form of an anthropomorphous djed-pillar, supported by Anubis. In front are two standards : the shorter Thoth-standard is held by a was-sceptre, the taller Anubis-standard by an ankh-symbol. Two falcons fly over the scene, clutching shen-signs in their claws.
The text is the beseechment by Neferrenpet of the gods represented in the barque.
The scene of the adoration of the falcon idol again has the couple before an offering, separated from them by even more columns of text. This time Neferrenpet is dressed appropriately for the occasion. Mutemwia is represented holding a sistrum between two tall lettuce leaves in her left hand.
The image of a falcon, representing Horus, reclines on a box-shaped standard, inside a shrine supported by pillars of coloured ladder-bands and with a canopy topped with a frieze of uraei. He carries fly wisks and wears a high ram-horned crown with the four feathers which intrude into the canopy-surface of the shrine (). The whole structure and its contents stand on a corniced base.
In front of the shrine stand two tall yellow pillars, each supporting a libation vessel. Three tall bouquets flank the pillars, a blossom garland hangs from the pillars. Two very tall lotus blossoms tower over the vessels.
The text is the adoration of Horus by the deceased couple.
The final scene, the adoration of the Re, Osiris and Ma'at in the barque of Osiris, only shows Neferrenpet. This time the text columns separate the offering table, which stands in front of him, from the papyrus boat. Neferrenpet wears yet another design of festive wear.
The offering is supported on two stands from which hangs a colourful garland and a bouquet between them. Comprised firstly of several breads, followed by pieces of meat and topped with a large bouquet, greens and fruit, at one of the bouquet is a single white bowl with burning incense.
The three offering tables of these scenes are quite individual in design.
At the stern of the boat stands Osiris, wrapped in a red mummiform garment from which his hands extend holding a composite sceptre of djed, ankh and was-sceptres. On his head he wears the atef-crown (a white crown flanked by two ostrich feathers), above him flies a winged udjat-eye.
Standing facing him is Re, his left hand raised in greeting, whilst in his left he holds a ankh-symbol. On his head he has the sun disk.
At the front of the boat, facing Neferrenpet, is the goddess Ma'at. She wears a green, tight-fitting dress and the feather of truth on her head.
The royal scribe!
Glory to your Ba and a sweet wind for your nose, that you may be ferried over in the Neshmet-barque to the west and that you may remain in the place of Ma'at.
May the noble Orion address you and may you be divine as one of them.
May you be in celebration, as you survive each day and are offered water for your Ka.
May you leave and enter (the necropolis) as you wish, may your Ba be not hindered.
For the Ka of the Osiris, the scribe of the treasury of the house of Amun, Kenro, son of Piay.
Sadly, this register is missing a large portion of the two scenes of the south end of the west wall. A blocking plate for the entrance to the subterranean burial complex, a small portion of which still exists, would have provided the now missing detail. The two scenes are totally different to the larger portion of the lower register of this side of the room, which includes a detailed glimpse into the life of Neferrenpet, scribe of the treasury of the house of Amun.
These have a fairly monochrome appearance, being composed primarily of black, browns, and yellows on an off-white background.
The long scene is subdivided into five building structures. The first, on the north wall, is the treasury workshop. On the west wall are depicted four storeroom areas, each being subsequently smaller than its predecessor. The workshop is separated from the storerooms by an avenue of trees, from which the green has sadly flaked from the wall.
The scene of the tree goddess is even more badly destroyed by the removal of the blocking plate than the previous (storeroom) scene.
However, from what survives of the upper portion, it is evident that it was a scene of the tree goddess Nut (identified from the remains of her name in hieroglyphs above her) providing a libation offering to the deceased couple.
There remains the top of the tree, in which is the upper part of the goddess holding the libation vase, from which flows the streams of water towards the couple.
Only the top of Mutemwia's head remains (see left edge of the 3rd storeroom view, above), but from its position it obvious that she was seated. There is also sufficient space for her spouse to be seated in front of her.
The scene of offering to the deceased is also missing its greater lower content.
The existing section shows the upper torso of a priest, with his back to the of the tree in the previous scene, also holding a libation vessel in front of the top of a table of offerings.
At the left end are the tops of the heads of Neferrenpet and Mutemwia, again obviously seated.
… About 40%, from the beginning, is lost…
house of Amun, Kenro, justified.… damage…
He says : "Arise mummy, like Re, in the work place of your tomb
on behalf of the Osiris, the scribe of the divine offering of Amun, Kenro, justified.
This wall is taken over, to a great extent, by the statue niche, discussed in detail below.
The header frieze, common throughout the walls of the two rooms, does not extend on to the two vertical sections situated either side of the statue niche. It does, however, stretch across the area above the niche, but in a mirrored form centred on one of the images of the head of Hathor.
The two end panels are set in a surrounding dark-blue band edged in white and sit just above the bottom yellow and red broad bands which define the dado.
The design, so included is of a multilayered bouquet of lotus blossoms standing on a short pillar. The two sides are not identical, not only are the individual layers subtly different, but the there are four on the left and only three on the right. They are both topped with three blue-green papyrus umbels.
Again the total ceiling area is surrounded by the striped border, typical of this tomb, which then encloses a coloured ladder-band. The whole is then sub-divided into two design areas by, this time, two yellow inscribed bands, which run from the room entrance to the statue shrine. The bands are set off-centre, being oriented with the central axis of the entrance passageway, and thus do not line up with the centre of the south wall (see ).
The text bands are themselves edged and separated by ladder-bands, but this time they also have an additional edging, which in three cases is a chain design with coloured infils and in two instances a line of small white and dark squares. The eastern edge of the eastern ladder-band has no additional edging. These edging strips can best be seen in .
The two long design areas are both filled with the same pattern.
Both text bands were written in column format, starting at the entry end. Virtually none of the text is readable in the eastern text band. The western band has survived slightly better, but not in full. What has survived reads :
An offering [which the king] gives for Osiris……
the ruler of the living…
, who passes quickly through millions of years.
May he grant the sweet breath of the north wind, for the Ka of the Osiris, scribe of the treasury of Amun, Kenro, justified.
Taking up most of the south wall of room B, the niche holds four near life sized, rock-hewn statues. These have been carefully remodelled in stucco and painted. The rear wall is set back approximately 0.7m, the inset floor on which the feet of the statues are rested is approx. 0.5m above the floor of room B.
The statues are seated closely together on a bench, so close that their shoulders overlap. Neferrenpet is seated furthest forward, so that both of his shoulders are fully visible. From right to left, they are : Mutemwia (his wife) and Neferrenpet (), then Piay (his father) and Wiay (his mother) ().
All wear large wigs with perfume cones and ornate necklaces. The ladies wear long ankle-length white dresses, with heavily pleated upper portion but a plain skirt. Neferrenpet wears a thin shirt with pleated sleeves, through which his skin can be seen, but from the waist down, nothing much has survived except the bottom corner of the skirt, which shows that it was pleated (this missing portion of his body has been restored, blank, with mortar). Piay wears nothing on his upper torso, but wears a pleated ankle-length skirt. All originally had a text band down the front of the legs, which included their title and name, Neferrenpet's is obviously now missing.
The bench on which they all sit is undecorated, but the lower side walls and back wall all have been coloured yellow. The upper portion of the side wall is decorated, starting at the top, with a checkerboard pattern, followed by a garland then a pattern including lotus blossoms (see ).
The rear wall has, between the heads and at the ends, a single papyrus, those at the two ends and the one between Neferrenpet and his wife have vine foliage entwinded round them.
This ceiling (), like all those before it, is fully edged with the three coloured stripes. It does not, however, have an inner ladder-band.
The single design is a chequered pattern of white squares, each edged in red. They are alternatively bunches of grapes and a leaf pattern.
There is no text band on the small ceiling.
In the south of the west-wall, directly beside the statue niche (see ), there is an entrance to the subterranean burial installation, which includes the coffin chambers. The descent-shaft is located on what would be the outside of the west wall, so that the west-wall had to be excavated for the shaft entry.
The shaft partly intrudes into the south western corner of the floor of room B, possibly being carried out after the time of Neferrenpet. This is further evidence of the inter-connected array of chambers (III to IX) being of a later date and was probably done to give access for a larger coffin than that of Neferrenpet or his wife.
As previously mentioned, the entrance was probably closed by a removable cover for the shaft entry, from the time of Neferrenpet; a further ground plate would have covered the intrusion into the floor of room B, assuming that the wall plate had been restored.
At the foot of the 4.8m deep (1.5m east-west by 1.0m north-south) well-shaft, in the north side of which descent holes have been cut, the main chamber I opens to the south (see ). It is approximately 1.7m high, 3.0 wide × 3.0m across (entrance to far wall), the largest area of the total nine coffin chambers, antechambers or passageways, and at the same time being the deepest. Just like the well shaft, the main chamber is extremely carefully and accurately worked, virtually right-angle corners and clean smoothed walls, with traces of fine chisel marks.
Approximately 1.75m above the bottom of the shaft, the small chamber II of 1.0m high, 1.0m wide and 2.0m across, extends eastward into the solid rock (see ). On the basis of the identical quality and appearance, this can also be accepted as being of the main installation, therefore certain to have been for a close family member. In the finds was a fragment of the mummy-case and an ushabti with the name of Piay, father of Neferrenpet, also a small fragment of the Mummy-case of Neferrenpet's wife, so their joint burial place is reasonably certain.
Two further accesses lead westwards and northwards from the shaft, into an interconnected system, in which later burial chambers can be found. The treatment of the walls and ceilings, on this interconnected system, remain rough and executed with coarse chisel-work.
From 2.50m down the shaft, the westerly short corridor leads into chamber III, approx. 2.5 × 2.5m and 1.4m high (see ) off which are further small irregular chambers.
South from III is chamber IV, slightly smaller than III approx. 1.2m high, 2.5m wide and 1.6m across, (see ).
Further to the west of IV is chamber V (see ), which extends westerly about 3.7m and is sunken (about 1m) at its western end to receive the coffin.
An expansion (0.8m high, 1.1m, wide: 2.0m south-north) of chamber V heads north and breaks into chamber VII (see ), which is approximately 1.0m high, 1.0m wide: 2.9m east-west.
At 2.5 × 2.5m in area and a height of 1.5m at the highest position, chamber VI is accessible through a relatively cleanly worked passageway from chamber III (see and ). Besides being connected Fto chamber III, it also has access via the inter-connected system with the previous chamber VII in the west, and also with chamber VIII in the east, (see ). The latter access to chamber VIII, by a small stairway leading down over a height-difference of 72cm.
The chambers VIII and IX are oriented northward from the shaft, and joined via an inter-connecting passageway, (see ), and are positioned directly under the cult-areas. Chamber VIII, which connects directly to the shaft, is 1.7m high, 2.0m wide and 2.5m south-north, chamber IX is 0.9m high, 1.75m wide and 2.3m south-north.