At the centre is the most important element in an Egyptian tomb, that of a magnificent stela, containing at its centre the false door, the connection with the world of the dead, which allowed the deceased to pass from that world and again return. It is only a painted design, not sculpted, created to imitate pink-granite and the hieroglyphs are painted in a dark blue-green colour. It is of a very common design found elsewhere and consists of several elements. At the top is a painted cavetto cornice supported by four sets of text (two on each side) which start at top centre and extend down the sides. These enclose the inner false door with an images of Nakht and Tawy seated in front of an offering table at the top. Immediately below this is a pair of udjat-eyes of the sun-god, separated by a shen-ring, a nun-dish and the hieroglyphic sign for water. Then, at its lower centre is the actual narrow doorway with two columns of text on either side. The whole structure is shown as resting on a limestone plinth, representing the offering table which normally have been placed on the floor, at the base, and in some tombs appears as such.
The inner texts Situated in four columns, two either side of the narrow door, these contain reference to Nakht being "revered" before the four children of Horus
Only the two on the left now fully remain, and are as follows: (on the far left) "Revered by Qebehsenuef, the Osiris, the scribe, Nakht", (inner left) "Revered by Amseti, the Osiris, the serving-priest, Nakht".
On the right: (inner) "Revered by Hapy, the Osiris, the scribe, Nakht", the outer right one is almost completely lost: "Revered [by Duamutef, the Osiris, the serving-priest,] Nakht".
The outer texts
Located one inside the other, they all start at the centre top and precede down either side. Those on the right have suffered damage at the bottom of the texts, possibly due to the removal of the name of Amon, whereas on its occurrence at the end of the outer left-hand text has created only a slight damage.
The outer one on the left states: "A gracious burial grant (previously translated as "An offer which the king gives") of Harakhti. He grants a sight of his beauty daily and a walk abroad to see the sun just as when on earth. For the ka of the serving-priest [of Amon, the scribe, Nakht, justified.]".
The outer right hand, states: "A gracious burial grant of Osiris Wennefer, the great god, Lord of Abydos. He grants entrance and exit into the necropolis and that the soul (ba) is not repelled from its desire. For the ka of [the serving-priest of Amon, the scribe, Nakht,] justified.". Note that the "justified" is visible.
The inner left one states: "A gracious burial grant of Anubis, keeper of the shrine of the god. He grants glory in heaven with Re, well-being on earth with Geb, and victory in the western land with Wennefer. For the ka of the serving-priest, Nakht.". Note that due to the lack of space, the name of Amon was not included, neither has the word "justified", at the end.
Finally, the one of the inner right states: "A gracious burial grant of Amon, head of the sacred (places), the great god, chieftain of Thebes. He grants a passage across to Karnak, to provide food every day. For the ka of [the serving-priest of Amon, the scribe, Nakht, justified.]". Because of the damage at the end of this text, it is uncertain whether "Amon" or "justified" were included. Note that the occurrence, at the beginning, of the name Amon has not been destroyed; obviously an oversight.
These are symmetrically and individually portrayed either side of the false door stela, three on either side. Each is accompanied by his own inscription describing his offering. They are all dressed in a white kilt and kneel on one leg, the one nearest to the viewer.
The ones in the middle both bring cups and the texts state: "Giving a goblet of water for the ka of the Osiris, the serving-priest [of Amon], the scribe Nakht, justified. You are pure, (as) Horus is pure" and "The gift of a cup of wine to the Osiris, the serving-priest [of Amon], the scribe Nakht. You are pure, as Seth is pure".
The lower pair both bring a bouquet of flowers, which hang from a hand holding a tray. Whilst the one on the left also brings three stems of papyrus. The text identifies what each bring on their tray. On the left: "Giving ointment of green colour and black for the (eye) lids of the scribe Nakht, justified" and "Giving cloth to the Osiris, the scribe Nakht".
The scene is that of a large pile of offerings laying on a reed mat, at either side of which is an image of the tree goddess Nut, followed by a bearer of offerings. There is no accompanying text or any indication (i.e. blank columns) that any was intended. The image conveys the reassuring suggestion that the deceased is not dependent entirely on the offerings brought by acts of human piety, but would also receive daily sustenance from a divine source. The whole register forms a colourful composition of considerable beauty. At first sight this may appear as a strange scene to appear below the false door. However, if the large pile of offerings is considered as being placed in front of it, on the offering stone pictured at the bottom of the register above, then it is ideal.
The display, as already mentioned, is very symmetrical, especially the pile of offerings, with the exception of the three items in the middle of it. Even the offerings being brought by the two men are the same, here the exception being what hangs from below the small table which they hold in their hands.
The goddess Nut is portrayed twice. The Egyptians believed that she would would emerge from the sycamore tree when the soul of the deceased rested in its shade on the journey towards the abode of the dead, and would give it nourishment of refreshing food and drink. Nut is usually portrayed as wood-nymph-like being within the tree, but she is shown here with an emblematic sycamore on her head. She holds in her hands a simple meal of bread, onions, beer and grapes, and three stems of papyrus, which is as much a symbol of vegetation and prosperity as a floral decoration.
Whenever papyrus is used for decorative purposes, either held in the hand (as here), forming columns or even decorating the end of boats, the plant is always shown with the umbel heads, the triangular shaped bloom which appears at the top of the long stem. The papyrus plant can grow to height of more than four metres. Because of the strength of the plant stems and its abundance along the Nile (especially in the Delta) it had many uses, such as boat building, lightweight shelters (i.e. booths) and also the production of the well known writing media.
there are columns which were obviously intended for descriptive texts, but most of these remain empty or the text is only written in draught mode, certainly not in their final colourful detail. Also, in the top register, many features (e.g. hair and eyes) have been drawn in outline but never coloured
the artistic detail of the couple is unfinished. The couple seem to be seated, side by side, on a bench seat as no front leg of an individual chair appears immediately behind Tawy's leg, which is present in the bottom register. As the imagery here is obviously unfinished, it is possible that could have been inserted later. To compare the two images, see the corner view. From what does exist, the seat has a high curved backrest. In both cases the seat rests on a reed mat. The hair of the couple has been given no colour and only the outline is created, their eyes have even been left unfinished. There is certainly not the difference seen in their skin tones as that found in some images of the walls discussed so far. Nakht is dressed in his usual short white kilt with the semi-transparent garment over his upper torso and down to his ankles. He has his usual two bracelets and a broad necklace. Tawy wears her tight fitting, full length white dress which reaches to her ankles and even (this time) covers her breast. She has three bracelets on her right arm, whilst her left is hand is placed on Nakht's shoulder. She also has a broad necklace. At the front of her head band is a lotus bud. They each hold a single lotus blossom. Nakht holds his to his nose.
Above them were several columns of text, which were only sketched, not finished in colour. They are now also very faint and damaged. Davies records it as originally describing the couple as "Receiving offerings ..... [Amon], lord of the sacred places, revered daily.". This is then followed by the usual names and titles of the couple, damaged by the removal of the name of Amon.
The actual contents of the large pile of offerings is now difficult to see, but from Davies' line drawing it can be seen to contain a wide variety of foods and drink. These include breads, meat, fruit and baskets full of blue grapes. Under the table stands tall vessels entwined with long stemmed lotus blossoms.
On the upper sub-register, on the right-hand side, five men approach with flowers and with trays containing a simple meal.
On the sub-register below, a sem-priest dressed a leopard's skin performs the rites of consecration of the offerings, with the traditional gesture. Behind him advance four men, each with a jar of fat and a tapers. From the inscriptions in other tombs, over a similar procession, it shows that on feast days tapers were lighted and fat provided so as "to brighten the path of the place of darkness" for the deceased
.
The couple are once again seated in front of a large pile of offerings, similar to the one above. This time, however, the painting is much more complete, with the full design of their seats (the apparently missing leg in the image above is now in view). The seat is of a semi-open design with a high curved back, the top of which is golden in colour. The hair of the couple has its colour and the detail of their eyes is visible. One addition is the bird located in front of Nakht's legs. The two are dressed as previously, but this time Tawy's headband has an open lotus blossom. She holds in her hand a small bunch of flowers, whilst Nakht has a large bunch. It should also be noted that he has a short beard, whereas in the register above he didn't. There is no text in the many columns prepared for it above them. In this lower scene the pair have their food consecrated by a sem-priest (the figure expunged, almost certainly by those who removed the name of Amon). The four men who follow, two on each of two sub-registers, have the priest's shoulder-sash and bring a wide variety of offerings.
The two priests of the upper sub-register are accompanied by badly written texts in the columns in front of them: the first (left) has "Giving shoulders of beef and severed pieces. To be spoken four times". The second priest has "Doubly pure (are these) for the Osiris, the serving-priest of Amon, Nakht.". (Note that the name Amon has not been removed.) These two priests each bring a leg of meat and a tray of unidentifiable foods.
In the sub-register below, an unfinished text belonging to the second figure began "Making a libation ....". This was the only column to contain any text in this register. The first priest brings at least one bird, whilst the one behind him carries a vessel with a spout and a cup from which to drink the contents.
seated images of Nakht and Tawy seated on the right, although their upper image has been lost and only their legs (and Nakht's hands) remain in the lower register. The major part of the two registers, although being similar in content, is different in actual detail. Since the time of Davies' original work, further damage has occurred to this side of the west wall. At the right-hand side of the upper register could be seen the legs of two offering bearers, actually only the rear leg of the one in front, this leg has now disappeared. Together with this, the upper area of two of the columns of text, at the top of the register immediately below, have also been lost.
Nakht and Tawy are seated on a bench seat resting on a reed mat, identified as such by the fact that no front leg of a second chair appears immediately behind Tawy's legs. From what has survived, they were obviously in their usual attire, with bare feet. Any original descriptive text for Nakht and his wife was lost even before the production of the line drawings, the part which remains is for Tawy's son. 
Under the chair is what has become one of the famous scenes from the tomb, that of the striped cat eating a fish. In Davies' time, this image was in very good condition. However, today part of the underside of the animal and the fish are distorted by damage
a large pile of provisions for their enjoyment as they participate in the "Beautiful Festival of the Valley". These provisions (due to ancient Egyptian perspective) appears to float in the air on a table top, above two tall vessels around which are wound lotus blossoms. It is possible that any central pillar-leg may be hidden by one of the two vessels below it. Facing the offerings and the couple is, according to the text above him, Tawy's son, Amenemapet. The is the only remaining instance of any of the children being named and is especially interesting in the fact that he is not acknowledged as Nakht's son, but as "her son" (
). It could possibly signify that Nakht, not having a son at the time of his death, chose his stepson, descended of a previous marriage of Tawy, to act as if he was his own eldest son. He is dressed in a short white kilt (which doesn't even reach to his knees) over which is a semi-transparent longer garment extending to the middle of his shins. The normal black colour of his short hair has either vanished or had not been completed by the artist. His white finger nails are very easily seen. In his left hand he holds a small but elaborate bouquet, from which hangs a dozen wild-fowl. Whilst, very strangely, the long bouquet in his right hand passes behind his left arm. Could this have been done deliberately by the artist or was it a mistake? The text above his head, which as already mentioned is now less complete than in the time of Davies, states: "[Presenting] a bouquet after doing his duty, by her son [Amen]emapet, justified.".
Following the son are the musicians and guests of the celebration. The graphic representation of the three musicians is quite outstanding, in the fact that they are not portrayed just standing one behind the other. Instead, they form a rather special complex group with their figures and instruments overlapping each other, enhanced even more by the fact that the middle girl turns her head towards the one at the rear. At the front stands the harpist playing a large instrument with more than a dozen strings and a rather elaborate sound box. Behind her is a lute player, and at the rear the girl who plays the double flute. 
The images of the three girls are distinctly different, although at first glance the two outer ones appear the same. These two are dressed in long tight-fitting dresses, whilst the one in the middle wears only a narrow
beaded belt. Each wears a different hairstyle and broad necklace. Detail can be easily seen in the drawing. The dexterity of the fingers is in stark contrast with that of all the guests. 
Compared with the other female figures of this wall their skin tone is much darker, almost as dark as that of the male figures. This may be partly due to the fact that the artist applied a layer of varnish to these three, which, over time, has probably darkened, it has certainly started to show signs of flaking (see the face of the harpist)
. From the fact that the feet of the two outer girls are pale (the same colour as the other females), it can be assumed that no varnish was applied to them. The artist was obviously very proud of what he produced here, hence the fact that he wanted to ensure the protection of his art-work against deterioration. The height of the three musicians has been reduced in order to provide space for provisions
for the musicians and guests (or perhaps they are further offerings for Nakht and his wife). These consist of four totally different vessels, both in colour and shape, resting on a reed mat. Three of these are supported by small wooden frames and each have lotus blossoms laid across the top. The taller vessel, which rests directly on the mat, just has a lotus bloom at its top. Between each vessel is a very large bunch of grapes.
Behind the musicians the register is divided into two sub-registers, each containing seated guests. • The upper sub-register contains three men, the figures of which are almost identical, in stark contrast with musical trio in front of them. They each sit on the same style stool, which rest on a reed mat. They have the same white kilt with semi-transparent overlay, the same design broad necklace and each hold the same style lotus blossom with a long thin curved stem to their nose. These long blossoms should by rights collapse under the weight of the bloom. Their heads all have the same short ginger (or unpainted) hairstyle, with an ointment cone on top.
The design of his white kilt is however still apparent, with no sign of an overlaying semi-transparent garment. There is no surviving descriptive text. 
The lower (complete) sub-register contains at its front edge a blind male harpist. His blindness is expressed by a curved line instead an actual eye. His mouth is open, which for an Egyptian image is exceptional, probably signifying that he is singing what is usually referred to as the "song of the harpist". No text accompanies this harpist, although many variants can be found found in other tombs. His body is shown in profile with the folds of his stomach been very obvious. Unlike the guests behind him, he squats directly on the floor, not on a mat. The sole of his left foot can be seen emerging from under his right thigh. On top of his apparently bald head he has a ointment cone. 
Immediately behind him is a scene with several female guest and their attendants. The high quality guests all kneel on the reed mat, dressed in the finest attire and shown in various attitudes. This, as with the musicians, enlivens the scene considerably. They are shown in a more natural mix, three kneel side by side at the rear, two next to each other at the front and one in the middle. The first guest breathes the odour of a lotus flower, while the one at her side (partially hidden by the first), has turned towards the rear and holds a fruit to the third, whose left arm is also turned toward the rear and present the same type of fruit to the lady seated behind her. From this, the possible explanation is that the first of the two women is seated with a tray containing the fruit in front of her, and she is passing them to the one behind her, to pass them them to the others. All of the women wear the same design dress and large round gold earrings, but a variety of broad necklaces. A young girl, naked except for a jewelled belt around her hips, adjusts the earring of the middle guest at the rear.
above the blind harpist, the remains of vessels resting in wooden stands. Again, these could either be refreshments for the guests or further nourishment for Nakht and his wife. 
Nakht and Tawy seated with their backs to the entrance of the rear chamber. The wall has suffered virtually no natural damage. That which does exist is from the now familiar removal of the name Amon from the texts. In addition to this there is damage to the left-hand edge, at the junction with the rear chamber entrance, but even this has resulted in no major loss of detail and most of the multicoloured border still exists. What is uncertain, is whether there was a blue vertical band outside it. The kheker frieze is fully intact and from it the unevenness of the ceiling, towards the north end, can easily be seen On both registers the couple are, according to the text, "enjoying and beholding beauty" by the sight of the offerings which are presented to them. The major part of the registers is taken up with scenes of gathering or preparation of these gifts, from hunting of fish and fowl in the marshes (upper register) and the grape harvest, wine pressing, bird capture and the removal of the plumage (lower register
Nakht and Tawy are again seated on a bench seat resting on a reed mat. The high backrest is of a hollow construction, with a gold curved top. The couple are dressed in their usual attire, although Nakht's semi-transparent over-garment extends from over his left shoulder down to his ankles. His beard can just be seen. Both hold a single lotus bloom, with Nakht's having a longer stem. Tawy's left hand can be seen resting on his left shoulder. Strangely there is damage which has removed the part of their face which includes the eye. Was deliberately done at the same time as the removal of the name Amon?
Above then are six columns of multi-colour text (the other texts of these two registers are of a single colour). It states: "Enjoying (themselves) by looking at the good things, the products of the fields and the papyrus areas, (by) the serving-priest [of Amon], the scribe Nakht, justified, and his beloved sister, with a place in his heart, the chant[ress of Amon], Tawy.".
In front of them is a large and varied pile of offerings which have been presented to them. Only one person is shown bring things from the activities in the marshes and he is shown on a much smaller scale than the couple, located at the opposite side of the pile. What he brings is shown under it, being seven fowl, whilst over his shoulder he carries a further five. The two men immediately above him face away from the couple and actually belong to the hunting scenes which occupy the major part of the upper register.
Although the blue text, to the right of the multi-coloured one, extends over half of the main hunting scene, it actually relates to the couple and the offerings, and does not describe the major scene below it. It even repeats, in part, what was stated previously, saying: "Enjoying (themselves) by looking at the good things, the products of the fields (produced) by (his) companions, as the baskets of the product of hunting and fishing, by the serving priest of [Amon], the scribe Nakht, justified, and his sister, the chantress of [Amon], the mistress of the house, Tawy. She says 'Enjoy your work of the peasants, I make these libations to your geese, at their moment (of death?).' ".
This theme is a classic decoration, found in many tombs since the Old Kingdom. In the New Kingdom, it is always composed of two hunting activities, the capture of birds by use of the throwing stick and fishing with the harpoon. These two scenes can be represented one behind the other, or more frequently, as here, in a facing composition. Although the two scenes could be regarded separately, it is easier to discuss them together, thus making it easier to draw comparisons.The hunting, in both cases, takes place in the papyrus thicket, with Nakht standing in a light papyrus skiff. In the left-hand section, Nakht holds a throwing stick in his hand, with which he hunts fowl. In the other part his posture indicates that he is about to hurl a spear. However, the spear has not been painted in by the artist. In total, Nakht is accompanied by his wife, three children and three servants. In the left-hand skiff is his wife, standing behind him, and a daughter and a son; the kneeling daughter holding his leg will be his eldest, whilst his naked son, holding a throwing stick just like his father, stands in front of him. In the right-hand skiff his wife again stands behind him, accompanied by two daughters; again the eldest daughter holds his leg whilst this time another daughter stands at the front of the skiff. None of these children are named in the texts above the scenes. Two servants stand behind the left-hand skiff, whilst a single servant stands behind the right-hand skiff. At the front of each of the skiffs has been removed the image of a goose, removed by the supporters of Akhenaten, because it was considered as a symbol of the god Amon.
The scenes are solidly rooted in religious ideas, with the papyrus thicket being regarded as a mythical place of fertility and regeneration. Hence the fact that members of his family are represented, which wouldn't normally be the case if it just represented Nakht enjoying the activity of hunting. There are far too many occupants for such a frail craft, again emphasising the fact that this activity, as shown here, could never have taken place. In general, some aspects of the imagery point to the scene beings a representation of Nakht in the reign of Amenophis II. However, his wide belt suggests that it belongs to the time of Thutmosis IV.
The columns of blue text above the right-hand side of the scene describes it: "Traversing the fowling-pools, penetrating the swamps, enjoying himself by spearing fish, by the serving-[priest of Amon, the scribe] Nakht, justified.".
The background to the two scenes is a wide expanse of papyrus thicket topped by three rows of umbels, creating a very attractive display. Above and among the stems fly a number of birds, butterflies and dragon-flies; there can also be seen two throwing sticks. On top of the papyrus umbels are two bird nests each with two eggs. These are protected by the actual birds, both being of a different breed. A further nest and eggs, plus the protective bird can be seem among the papyrus stems. This lower register is about the couple receiving produce from the grape harvest and wine pressing, bird capture and preparation of the same. The two activities are displayed on different sub-registers, with the couple again seated on the left.
The couple are dressed as in the upper register, including the semi-transparent over-garment of Nakht. This time his beard is easily seen. Again they both have a single lotus bloom, but here Tawy has hers resting over her right arm, whilst her right hand is again on his left shoulder. Although the name Amon has been removed, their eyes have not been touched this time.
The front of the booth is supported by a very decorative pillar, in fact there would be two. It consist of a pillar of papyrus stems, bound tightly at the top and very beautifully at the base, with a single umbel at the top, with a lotus bloom to either side of it.
• The offered gifts and the porters. Immediately in front of the couple, inside the booth, is a stool on which stands a large basket of fruit overlaid by lotus blossoms. This is obviously part of the piles of gifts seen in front of the booth.
The porters, like the actual activities at the right-hand side of the register, are displayed on the two sub-registers, two on each. All are dressed identically in white kilts with a high waist-line rising towards the rear. They bring even more gifts to the couple, including more fishes, fowl and grapes
Upper sub-register, grape harvest and wine making. Behind the two upper porters the scene is divided into two related activities.
• Starting on the right, the scene is of harvesting grapes by two men. The activity takes place under a vine-grove pictured as being composed of three grapevines, obviously intended to represent the depth and shade of the vineyard. The harvesters are certainly not overpowered by the vines and although not showing a great deal of movement, they are portrayed as individuals. The one on the left has a pot-bellied stomach and roughly cut grey hair, both indicating that he is the elder of the two. The one behind him has black tight curly hair, normal for the inhabitants of the Upper Egypt. It is interest to compare the line drawing of Davies with his painted version: the painted version has the hair colours of the two men as they are actually found (see behind glass image), but in the line drawing he has them reversed (see comparison). Despite the number of grapes they have to gather, all apparently ripe, unless the alternate bunches are not white grapes but are unripened ones, they only have one small basket between them.
• On the left, the harvested grapes have been placed in a white stone press where they are treaded by five men, three on the left and two on the right. Conventionally their skin colour is alternated in order to easily see the number of men involved. They support themselves by the ropes hanging from the crossbar supported by two very decorative papyrus columns. All of these men wear much shorter kilts than those worn by the two harvesting the grapes. A similarly dressed man stands outside the press, in front of the stone tank which receives the strained juice from the press. The juice which he collects will be placed in large jars, four of which are shown above him. This scene appears more lively than the rather more conventional gathering scene on the right, although a little less active than the one found in TT56, the tomb of Userhat, but the preserved quality of the painting is better here in TT52.
• Starting on the right is the mass capture of birds in the papyrus swamp, using an hexagonal net. This is performed by four men, a group of three controlling the net and another who gives the instruction to close the net. Once again, the tall papyrus area is illustrated with a mass of umbels at the top, not in a natural way, but in a very picturesque way, as a backdrop to the scene rather than enclosing it. At the bottom can be seen the dark blue water with a shoreline above it, but the water extends around the hexagonal net, which is displayed upright (not horizontal) in order to show the detail of its content.
Appearing, half hidden, from behind the papyrus background, is the lookout, whose job it was to signal to the three men to pull on the rope, thus closing the large net. They lean backwards indicating their effort. As in the scene grape treading above, their skin tones are alternated in order to easily see the number of men involved. All four of these men wear only a brief vestment around their middle, because in doing this job they are certain to get very wet.
The artist has placed a great deal of detail into the chaotic mass of birds captured in the net. Note should be made that none have escaped, even though the amount of activity is great. Also worth noting is the fact that the rear-most of the three men has turned his head turned to face the two men in the sub-scene behind him.
This scene is also found in TT56, the tomb of Userhat, but the preserved quality is again better in TT52 and the activity within the hexagonal net is much greater. In TT56 the rear-most man again turns to face behind him but all the men are displayed apart, wearing fuller garments around their middle. There are also other differences. Of all known analogous scenes found in other tombs, it is only in TT56 that the "lookout" is absent, the one who is normally half hidden by the papyrus plants, ready to give the signal to close of the trap.
• On the left, partially taking place under a framework of two posts supporting a cross member, is the plucking of previously captured birds, whose necks would have been twisted. This is performed by two men. The man on the left, who, judging by his hair style is the elder of the two, sits on a comfortable seat and performs his task on a sloping work surface. His birds are hung from the cross-beam of the structure. Whilst the younger man sits on a simple stool and works from his hands, placing his finished work in front of him. Note that there are no unplucked fowl present in the scene. Both men wear a normal tight fitting white kilt.
Above the right-hand man are vessels, similar to those seen in the sub-register above. If they were meant for wine they would be out of place here. These could have been used to fill the space; but if this was the case, why didn't the artist insert some descriptive text? However it is possble that the processed birds, once dry, with or without salting, may have been placed in these jars to be preserved or even transported, although the necks do seem a little narrow.
The rear chamber is somewhat irregular in shape, but it is oriented on the general axis with the main entrance to the complex. It is approximately 2.5 x 2.2m. - only just longer than wide, with an average height of 2.2m. A small niche, about 0.5m wide, 0.7m tall and 0.5m deep, located in the back wall, is slightly set off-centre towards the left. This perhaps once contained the kneeling statue, because there is no proof of this, it may have held a small dual seated statue of Nakht and his wife, but no remains of such a statue has been found. As can be seen from the photograph the niche currently holds a replica of the kneeling statue of Nakht.
The rear chamber is undecorated, but it was plastered in readiness. The important depictions which would normally have been included here are thus missing. These include: the funerary procession with the transportation of his funerary material, the pilgrimage to Abydos, the essential rituals leading to the deceased's transformation into the blessed one, the various rituals on his mummy (most importantly, the opening of the mouth ceremony) followed by the welcome by the goddess of the west and by Osiris. the chamber contains the large descent shaft to the burial chambers.
• The shaft to these chambers occupies a large area of the floor space in the rear chamber, in an almost central position . The examination of the shaft and the underground burial chamber began without any great expectations. It did, however, bring to light the single most important find, that of the small painted statue of the kneeling figure of Nakht, which as already mentioned, will be discussed in detail below. The opening at the top of the shaft measures about 1.5 by 0.9m, having a depth of about 4.5m, narrowing slightly during its vertical descent. When Davies arrived it was filled with debris, but not that with which it was originally filled. It was in this rubble that the statue was found.
• The actual chambers are found to lie, as usual, on the west side of the shaft, four and a half meters down. They consists of two intersecting chambers rough in shape and with an extremely low (approximately one metre in height) ceiling. The first of the two chambers is the larger in floor area and has a roughly rectangular shape, about 2.5 by 2.0m, except where it is entered from the descent shaft. The second chamber, which is approximately 1.2m wide, is made irregular in shape by the connection with the first chamber. The floor and ceiling levels slope downwards towards the far end.
Little of value was found in the debris, any woodwork which had not been removed being much affected by dry-rot. There was every indication that the furniture had been very limited and of mediocre quality; but, though the evidence for it is scanty, all the remains which were found by Davies appear to be those of the original interments.
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