As on the south wall, it includes religious scenes and profane scenes ().
West End: Couples receiving offerings
(, , , ) It is almost identical to the western end of the south wall, showing four stacked registers one above another. The couple formed by Rekhmire and his mother, or his wife, are in front of offerings stacked on a table. The couple's children, who officiated as sem-priests, are hammered out.
The seated couple have disappeared. Before them offerings are being heaped up on a table, being brought, as on the opposite wall, by the temple priests ().
Above the table is a placard detailing the items. The sem-priest officiating has this text above him:
"You live there as a God, provided with bread, provided with beer, provided with fresh water. Your veal legs are being prepared, the choice pieces are brought to you, and best of the offering tables are… for the Osiris, the Mayor, the Vizier, Rekhmire. As surely as the King is pure, all the offerings made to your Ka will be pure. It is also true that as God is satisfied with his offerings, the Osiris will be pleased with his offerings. Welcome, O servant of Osiris! Like an Akh among Akhu, as a great one in his tomb, it is that the great Ennead of the Gods who are in the great house of Heliopolis assists you. Come to me. Sit up close to me Do not be far from me Your tomb is your protection, you can be sure of. See I gave you the eye of Horus…!.. May this, your Eye of Horus, be beneficial to you. You go out with him in the company of Isis and appear at dawn in the Maadet boat, You have power to navigate and your feet can go out. You were born of Horus and were conceived by Seth. Water is pure for you in the eddies of current, and you will get a meal in the city of Heliopolis, with your father Osiris and with Atum. You will raise up your arms and embrace him. You […] to your triumphant body for eternity. O Osiris, Mayor, Vizier, favourite of Anubis, Rekhmire".
The role of the sem-priest is taken by Menkheperrêseneb. Rekhmire is with his mother ().The offerings include birds, plucked and unplucked, vegetables (lettuce, cucumbers, and leeks), fruits (figs, dates, and grapes), and bread () ; above the offerings beautiful stone vessels are represented separated by lotus stems, probably containing ointments or oils ().
The role of the sem-priest is taken by Senouseret. He performs a censing and a libation. Rekhmire is accompanied by his wife (, ).
This is the highest one and impossible to photograph. The role of the sem-priest was probably held by Amenhotep. Rekhmire is with his mother.
On the right of registers 2,3 and 4
Between the sem-priest consecrating the offerings left, and the scenes of the Ritual of Opening the Mouth on the right, are ten columns of text (in orange on the ). This fourth register says:
"Formula to bring on the glorified state. Let it be that he enjoys his offerings His arms are washed, his arms are outstretched The libation of water is poured out. Are you in heaven? Are you in the earth? Come, come out! You are Ba, you are glorious (akh), you are strong (sekhem), and you are equipped. Ma the power of your legs take you, so that you see this your house Seshat has built for you and on the walls which Khnum has raised up for you. May the doors of the myrrh casket be open for you, may the doors of the liquid firmament be open to you, as \they were for Horus protector of his father. A son is an akh for his father, a father is an akh for his son: This means they may go out You will be counted before Thoth who is the accountant for Ikhsesef of efficient plans at the head of Westerners Your bread is in the usekhet-hall, .. your meat portions are in the great slaughter house of the God. Sit upon your throne; mounds rise up (before) you, (water) streams will move themselves for you and be at your disposal. Feet stomp for you, arms stretch towards you, the…? dance for you, big birds are slaughtered for you and the heavenly people prepare them for you. The two kites, the birds are crying behind you, they are Isis and Nepthys. (saying) Osiris N., rise up! " (Translation Assmann / Baum) ".
The Ritual of Opening of the Mouth (ROM)
The ROM appears here like a series of drawings, with images commented upon but placed without any sequential order. We will see that the name of the Vizier and the sem-priests have been deleted almost everywhere, but all else is still very well preserved.
According to Goyon,
"It seems that the pivotal action scenes are of slaughtering, one for Upper Egypt (sc. 23), the second for Lower Egypt (sc. 43) and the setting aside of the heart and haunch of the sacrificial animal, for which all consecrated objects then used to touch the openings of the head, are only substitutes. It is onto this central double core (sc 23-42, Upper Egypt. sc. 43-46, Lower Egypt) that the Preliminaries (sc. 1-9), the Book of animating the statue (sc. 10-22) then the Ceremonial of clothing (sc. 47-63) the funeral meal (sc. 64-71), and finally, the closing Rites (sc. 72-75) have been grafted".
In the description below, we will follow the order in which the scenes appear starting at the bottom to the right and moving from right to left. The separation between scenes is not always made clear.
This starts with two columns of introductory text:
"Practicing Opening of the Mouth of the Statue of Rekhmire in the House of Gold".
Scene 8 ()
This is an intermediate stage: Participants take their places.
Positioning of the statue; provision of clothing:
"Rekhmire is stood up on a bed of sand, facing south, unclothed.". Behind him, the statue of a god with green flesh is stood erect on sand
"in peace in the House of Gold […]"
Libations of water with four nemset ewers.
Scene 3 ()
Libations of water with four decheret ewers.
Purification using natron of Upper Egypt.
Purification using natron of Lower Egypt.
Scene 6 ()
Purification using incense.
Fumigation with incense.
Scene 9 (, the scenes painted in red correspond to those in which Rekhmire stands.
The conception of the statue – it is the sleep and awakening of a sem-priest. The sem-priest is the figure wrapped in a cloak and curled up on a seat which has curved legs, or a bed. A comparable scene, for example, is in (). This scene represents the sem-priest in two functions, "asleep" and "awake". According to Budge, it is in the first "sleep" state during which he sees "in all its forms" the type of statue that must be made for "his father" (i.e. of the deceased) in "all its forms ". In addition, he also sees invertebrates (insects and spiders). It has been suggested that the sem-priest would act as the first Egyptian magician and the entire scene would correspond - in an expected shamanic manner - to a trance during a ‘false sleep’. This ritual could be linked with the mysterious Tekenu.
Scene 10 ()
Continued from the previous scene. The sem-priest and imi-khent priests ("Chamberlain") are between the conception and creation of the statue. The three men behind the statue are "sculptors" ().
The sem-priest speaks to the sculptors:
"who will now make for me an effigy similar to him?" (= His father). However the statue is ready, because the deceased had it created in his lifetime. The declaration is symbolic: it is for the consecration and animation of the statue.
Scene 14 ()
Touching the mouth with a finger. This gesture is likened to that of the mother who opens her child’s mouth before feeding the infant and it ensures the deceased can receive meals in the afterlife. It may also be an action to help the newborn individual to breathe.
The sem-priest - who carries on his left shoulder a curious white cloak (qeni) of papyrus stem - advances, with the lector priest, to meet the sculptors and a polisher and those who address them.
Scene 15 ()
Following directly on the previous one. The text urges:
"Let them do it in peace, those who would strike (= carve out) your father".
The sem-priest addresses the polisher:
"I do not allow you to make my father's head shine".
Scene 17 ()
The lector priest announces that the statue is completed.
Scene 18 ()
The lector priest enjoins the sem-priest to see his father.
The sem-priest removes the qeni-cloak, and passes on the panther skin.
Comments of the sem-priest.
Scene 21 ()
Comments of the lector priest. Note the juxtaposition of the Vizier’s image being smeared, while the sem priest has been hammered out.
Scene 22 ()
Change of scene, proceeding from the inside to the outside.
Scenes 23 (part 2 and 3) and 24 (part 2)
Slaughter of an ox with long horns in the presence of sem-priest, lector priest, large throng of mourners and a butcher. The formal speech of a woman says:
"I have brought you your enemy, so that he is sacrificed at your feet". The enemy is Seth, the murderer of Osiris, which is materialized in the ox.
Scene 25 and 23 (part 1) and 24 (part 1) ()
The animal's thigh is presented to the mouth and the eyes of the statue to open them and transfer the principle of life of a powerful and fruitful being to it.
Scene 27 (, )
Application of the instrument wr-Hekau (Grand-of-magic) which is shaped like an upright snake (). The text proclaims the protection of Mut who brings all the gods to the deceased so that they make him live.
Application of an iron chisel mesekhtyu. This instrument has the form of a bovine foreleg. The text defines the purpose:
"May you open with this the mouth of Rekhmire so he can walk and talk with his body before the Great Ennead in the Noble House located in Heliopolis".
Presentation of the statue consecrated by a lector priest.
Presentation of the statue consecrated by a lector priest (destroyed).
Address to sculptors and engravers; the sem priest proclaims he is Horus-Seth.
The sem-priest, the lector priest and a companion will seek for and bring back
"the son he loves", that is to say Horus.
Scene 32 ()
Application of medjedefet instrument, a variant ivory adze, and application of a finger in the shape of a was sceptre.
Opening of the mouth with the help of the little finger.
Scene 36 ()
Presentation of four abet-objects. These are elongated objects of white stone, symbolizing the teeth of the deceased.
Scene 43 ()
Slaughter by the butcher of an ox of Upper Egypt in the presence of the great throng of mourners and a lector priest.
Presentation of the heart () and haunch and then placing them on the ground.
Identical to the scene 25.
Application of the tied adze and the mesekhtyu chisel.
The statue is dressed. It is presented with a white piece of cloth. It is also presented with the chesmet front-piece, an element of royal regalia consisting of a belt carrying on the front a piece of jewelry. It is given a green piece of cloth.
Scene 39 ()
Fanning with an ostrich feather: so the deceased can breathe.
Application of the pesech-kaf chisel, a stone tool with a fishtail form forked blade fishtail ().With the sacrifice of an ox, this is one of the oldest known rituals, dating back to the Predynastic era.
Offering grapes: so the deceased can eat.
Offering water: so he can drink
Scene 59 ()
Litanies and censing to all the Gods and Goddesses.
Purification of the offering table. The deceased can eat.
Scene 69 ()
Recitation of formulas for glorification by the three chief lector priests who, on one knee, do the Henu gesture alternately beating their breasts with their fists. A gesture of joy, it can, in a funerary context, convey the emotions in the presence of a superhuman power, like that of a God or of a deified deceased. This glorification ("s-akhou", literally making akh, powerful, efficient) are recitations of demonstrative sentences often starting with the sudden calling out:
"Eh (O) this Osiris N…!", followed by exhortations :
"Take thee thy head, collect your bones, etc…".
Transport the statue to its chapel by the nine Companions expressly designated as the Four (!) Children of Horus.
The statue is placed in its chapel.
Scenes 74B and C
Opening the doors of the chapel and placing a wreath on the consecrated statue.
Declaration of the statue’s completion.
Scene 71 ()
Censing for Re-Horakhty before an offering table.
Scenes 72A and B ()
Offering and litanies to the gods and closing statement. The officiant will vacate the premises by clearing all traces of his footprints.