Tomb of Prince Amenherkhepshef (QV55), Luxor

Amenherkhepshef (also Amun-her-khepeshef) was the eldest son and appointed heir of Pharaoh Ramesses III. Like at least another of his brothers, he was named after a son of Ramesses II, Amun-her-khepeshef. He died when he was about fifteen years old.

He is also mentioned as Ramesses Amun-her-khepeshef. He is not identical with his brother Ramesses VI, who was also called Amun-her-khepeshef before he became pharaoh.

He is depicted in his father's temple at Medinet Habu. His well preserved tomb, QV55 (in the Valley of the Queens) was excavated by Italian archaeologists in 1903–1904.

Walking towards the tomb of Prince Amenherkhepshef.
The tomb of Prince Amenherkhepshef (QV55) is located at the western end of the main Wadi of the Valley of the Queens.

On the right side of the photo we can see the entrance to Queen Nefertari's tomb (QV66).

Entrance to the tomb of Prince Amenherkhepshef.
Entry to the tomb is from south to north, but the tomb is oriented on a northeast-southwest axis.

Judging by the location of his tomb, it is believed that he was a son of queen Tyti, whose tomb (QV 52) is in the same area.

Tomb of Amenherkhepshef Plan.
Plan Legend:

Entryway
Vestibule Gate
Vestibule

Amenherkhepshef(?), Ramesses III and goddess Hathor(?)
Amenherkhepshef(?), Ramesses III and goddess Isis
Amenherkhepshef(?), Ramesses III(?) and god Geb(?)
Amenherkhepshef, Ramesses III and god Ptah
Amenherkhepshef, Ramesses III and god Shu
Amenherkhepshef, Ramesses III and god Ptah-Tatenen
Ramesses III and god Qebehsenuef
Amenherkhepshef, Ramesses III and god Duamutef
Ramesses III and god Hapy
Amenherkhepshef, Ramesses III and god Imsety
Amenherkhepshef, Ramesses III and goddess Hathor
Amenherkhepshef, Ramesses III and goddess Isis

Northeast Chamber Gate
Northeast Chamber
Burial Chamber Gate
Burial Chamber

God Horus-Iunmutef
God Horus-Iunmutef
Amenherkhepshef, Ramesses III, gate 5 and the guardian of gate 5
Ramesses III, gate of northwest chamber, gate 6 and the guardian of gate 6
Amenherkhepshef, Pharaoh Ramesses III, gate 7 and the guardian of gate 7
Amenherkhepshef, Pharaoh Ramesses III, gate 8 and the guardian of gate 8
Amenherkhepshef
Amenherkhepshef and Ramses III
Goddess Wadjet
Goddess Wadjet

Northwest Chamber Gate
Northwest Chamber
West Chamber Gate
West Chamber

ENTRYWAY (A)

After the descending stairs, and turning left, a long entryway ramp with an overhang leads into the tomb.

This ramp now has modern cement steps.
The ceiling recess at the end of the overhang has the old Italian Archaeological expedition sign with the name of Amenhekhepshef and the tomb number.

VESTIBULE GATE (B)

The door jamb has a slot cut at the top for a lintel beam and has been reconstructed in concrete.

The thicknesses are decorated with images of winged Maat figures.
Being welcomed by Maat means aligning with divine order. It implies living a life guided by truth, fairness, and ethical conduct. The deceased's soul finds solace in her embrace, knowing they adhered to Maat's principles.

VESTIBULE (C)

This chamber lies on axis with the tombs entrance. The chamber is decorated with scenes of the prince and Rameses III offering to various deities.

The king is always placed as the dominant figure in the scene, and it is he who actually performs the offerings on behalf of his son.
As in QV42 and QV 44, the prince is shown as a child with the side lock, or Horus lock of youth and carries a long plume.

Scene 1

Scene 1 shows Ramesses III embracing an unidentifiable female deity, probably the goddess Nephthys, to correspond with Isis on the other side.

The pharaoh faces the inside of the tomb and the goddess faces the outside of the tomb.
The goddess touches the pharaoh's chin with her finger.
The goddess's touch upon the pharaoh's chin is a subtle dance of power and intimacy. The goddess, often depicted as Isis, Hathor, or Nephthys, embodies cosmic forces, magic, and nurturing. Her touch transcends the mundane, bridging the gap between the earthly and the divine.
The chin, a focal point of the face, represents the center of balance, where the physical and spiritual realms intersect. By touching the pharaoh's chin, the goddess establishes a connection—a portal through which energies flow.
The gentle stroke is a benediction, anointing the pharaoh with divine favor. It signifies protection, wisdom, and authority bestowed upon the ruler. The goddess channels her essence into the pharaoh, infusing him with her grace.
In that fleeting touch, secrets unravel. The goddess imparts hidden knowledge—the keys to cosmic order. She whispers forgotten incantations, invoking the ancient covenant between gods and kings.
The pharaoh's chin, touched by the goddess, becomes a conduit. It carries the weight of dynasties, the echoes of solar cycles, and the pulse of eternity. The gesture transcends time, binding past, present, and future.

Scene 1.
Ramesses III (right) and the goddess Nephthys(?) (left).

The goddess touches the pharaoh's chin with her finger.

Scene 2

Scene 2 shows the god Thoth on the left side, the pharaoh Ramesses III in the center, and the goddess Isis on the right side.

The god Thoth and pharaoh Ramesses III face the interior of the tomb, and the goddess Isis faces the entrance.
Thoth is depicted with the head of an ibis, a book in the left hand and stylus in the right hand, and a moon crown. He stands behind the pharaoh, and the pharaoh embraces the goddess Isis.
Thoth was revered as the inventor of writing and the creator of languages. Thoth's association with language and communication made him a crucial figure during the judgment process. Thoth served as the scribe, interpreter, and adviser of the gods. He played an essential role in recording and preserving divine knowledge. His wisdom and ability to communicate with other deities made him essential during the judgment of the deceased. During the judgment in the Hall of Maat, Thoth examined the scales when the heart of the deceased was weighed against a feather. If the scales were balanced, he recorded their name, and they would be admitted to paradise. If the heart was heavy with sin, it would be devoured, and the deceased would cease to exist.
Isis was revered as the mother of Horus, the falcon-headed god associated with kingship and protection. She possessed powerful magical abilities and was considered a healer. Her knowledge of spells and incantations was legendary. Perhaps her most famous role was as the wife of Osiris, the god of the afterlife and resurrection. Isis was instrumental in Osiris' resurrection after he was murdered by his brother Set. She reassembled his dismembered body, symbolizing the restoration of life. Isis represented the ideal mother, wife, and protector. Her wings often sheltered the deceased in tomb paintings, signifying her role in guiding souls to the afterlife.
The image of Isis embracing the pharaoh symbolizes protection, guidance, and divine favor bestowed upon the ruler. Through this embrace, Isis imparts her magical and maternal blessings to the pharaoh, ensuring their well-being and reign. In essence, the pharaoh's embrace with Isis represents the harmonious union of earthly power and divine influence—a sacred bond that transcends time and mortality.

Detail of Scene 2.
The Pharaoh Ramesses III embraces the goddess Isis.

Pharaoh Ramesses III is wearing a blue khepresh crown.
The Khepresh is also known as the 'blue crown' or 'war crown'. New Kingdom pharaohs frequently wore the Khepresh during military engagements. However, it was not limited to battle scenarios; it was also worn during ceremonies. The crown symbolized both earthly and divine power.
The Khepresh was more than a mere war helmet. Some scholars believe it was meant to evoke the divine authority of the pharaoh. By wearing it, kings were situated as manifestations of gods on earth.
The Khepresh represents both regal authority and a connection to the divine—a powerful emblem worn by pharaohs in their earthly and spiritual roles.
Photograph copyright www.meretsegerbooks.com.

Scene 3

Scene 3 shows, from right to left, Prince Amenherkhepshef, Ramesses III(?) and an unidentifiable male deity.

The prince and the pharaoh(?) face the inside of the tomb and the god faces the outside of the tomb.
Due to the damage to the wall, only the prince's feet can be seen. There is nothing left of Pharaoh except the space between the prince and the god.
The god holds the green was sceptre in his left hand and the blue ankh in his right hand. The ankh was the ancient Egyptian symbol for life.
The visible tip of the crown seems to suggest the god Geb. In the tomb of Prince Khaemwaset (QV44), brother of Prince Amenherkhepshef, Scene 3 also shows, from right to left, the prince, the pharaoh and the god Geb.
Geb was considered the physical support of the world, representing the Earth itself. As the Earth god, Geb was responsible for maintaining the stability of the land and allowing crops to grow. The appearance of the deceased before Geb represents a moment of transition, where earthly life meets the divine and the journey to the afterlife begins.

Scene 3.
Prince Amenherkhepshef (right), Ramesses III(?) (center) and an unidentifiable male deity (left).

Due to the damage to the wall, only the prince's feet can be seen.
There is nothing left of Pharaoh except the space between the prince (right) and the god (left).
The god holds the green was sceptre in his left hand and the blue ankh in his right hand.

Scene 4

Scene 4 shows, from left to right, Prince Amenherkhepshef, Pharaoh Ramesses III and an enshrined Ptah.

The prince and the pharaoh face the inside of the tomb, and the god faces the outside of the tomb.
The pharaoh holds in his left hand a yellow incense burner, its shape resembling the arm of Horus, at the level of the face of the god Ptah.
The skin of the god Ptah has a light blue colour and he wears his characteristic dark blue cap with a frontal uraeus. The cap is bordered at the neck and forehead with a yellow band. The characteristic green Ptah-sceptre is visible.
Ptah is revered as a creator god who shaped the world through the creative power of speech. Ptah's influence extends to the design and construction of sacred spaces, including tomb structures. Ptah's presence within a naos represents the creative force that underpins the temple's existence. His blue skin represents his role as a creator, his connection to the primordial waters, and his association with renewal and eternity. Holding the Was scepter, the Ankh, and the Djed pillar, Ptah embodies power, life, and stability—the essential elements for a sacred space. Worshippers seek Ptah's blessings within the naos, hoping for divine inspiration, guidance, and protection. Ptah's role as the begetter of the first beginning aligns with the tomb's purpose—to connect the earthly and divine realms.

Scene 4.
Prince Amenherkhepshef (left), Pharaoh Ramesses III (center) and an enshrined Ptah (right).

The pharaoh is wearing a blue headdress with a frontal uraeus, bordered at the bottom with a yellow band. On the back, it is decorated with a hawk spreading its wings. A yellow disc can be seen above the head of the hawk and a shen ring is visible between its claws.
The skin of the god has a light blue colour and he wears his characteristic dark blue cap with a frontal uraeus. The cap is bordered at the neck and forehead with a yellow band.

Scene 5

Scene 5 shows, from right to left, Prince Amenherkhepshef, Pharaoh Ramesses III and the god Shu.

The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
The prince holds the khu-fan in his left hand.
The pharaoh holds with his right hand the left hand of the god Shu.
The god Shu wears a blue tripartite wig with black strands of hair and a green feather, held in place by a red hairband.
Shu's primary role is to maintain the separation between Nut (the sky goddess) and Geb (the earth god). He stands as the atmosphere, creating a boundary between the terrestrial realm and the heavens. This separation allows life to flourish in the newly created airy expanse. Shu ensures the balance and stability of the natural order. His association with calmness and Maat (truth, justice, order, and balance) makes him a pacifier. The Greeks associated Shu with Atlas, the Titan who held up the celestial spheres. The deceased appearing before Shu signifies their connection to the cosmic forces that sustain life, maintain balance, and bridge the gap between Earth and Sky.

Scene 5.
Prince Amenherkhepshef (right), Pharaoh Ramesses III (center) and the god Shu (left).

The pharaoh holds with his right hand the left hand of the god Shu.

Scene 6

Scene 6 shows, from left to right, Prince Amenherkhepshef, Pharaoh Ramesses III and the god Ptah-Tatenen.

The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb. In the tomb of Prince Khaemwaset (QV44) this scene is represented in a similar way but the god is called Ptah-Sokar-Osiris instead of Ptah-Tatenen.
The pharaoh holds with his left hand the right hand of the god Ptah-Tatenen, while both make a gesture of greeting.
The god is depicted with green skin, a beard, a blue tripartite wig with black strands of hair and a uraeus.
Both Tatenen and Ptah were Memphite deities. Tatenen was the more ancient, combined in the Old Kingdom with Ptah as Ptah-Tatenen, in their capacity as creator deities. By the Nineteenth Dynasty Ptah-Tatenen is his sole form, and he is worshiped as royal creator god.

Detail of Scene 6.
Prince Amenherkhepshef (left), Pharaoh Ramesses III (center) and the god Ptah-Tatenen (right).

The god is wearing a crown with two bent feathers resting on a pair of twisted horizontal yellow and green horns. Each feather has five colours: yellow, blue, green, blue and red.
At both ends of the horns a uraeus is shown, topped with a yellow disk, while in the centre of the crown a red rising sun is depicted.
Some Egyptologists call this the Anedjti crown, while others call it the Henu crown. French Egyptologists call it 'la couronne Tjèni' or 'la couronne Hénou'. The most common name used in publications is the two feathers crown or the double feathers crown.
Photograph copyright www.meretsegerbooks.com.

Scene 7

Scene 7 shows Ramesses III on the right side and the god Qebehsenuef on the left side.

The pharaoh faces the inside of the tomb and the god faces the outside of the tomb.
The god Qebehsenuef, who is one of the Four Sons of Horus, is depicted with the head of a falcon and is connected with the west.
The four sons of Horus played a crucial role in protecting the deceased during their journey into the afterlife. Among these sons, Qebehsenuef had a specific duty related to the intestines of the departed. During the mummification process, the internal organs of the deceased were carefully removed and preserved separately. The four sons of Horus—Imsety, Hapy, Duamutef, and Qebehsenuef—were closely associated with these organs. Each son had a specific organ to protect: Imsety guarded the liver, Hapy the lungs, Duamutef the stomach, and Qebehsenuef the intestines. Qebehsenuef, depicted as a falcon-headed deity, safeguarded the intestines of the deceased. His duty was to ensure the proper preservation and protection of this vital organ. Qebehsenuef worked alongside the other sons of Horus to guide the soul through the perilous journey in the afterlife. Encountering Qebehsenuef was part of the intricate process of safeguarding the deceased's organs and guiding their soul toward eternal rest. His falcon-headed form stood watch over the intestines, ensuring their protection in the realm beyond life.

Scene 7.
Pharaoh Ramesses III (right) and the god Qebehsenuef (left).

The pharaoh holds with his right hand the left hand of the god Qebehsenuef, while both make a gesture of greeting.

Scene 8

Scene 8 shows, from left to right, Prince Amenherkhepshef, Pharaoh Ramesses III and the god Duamutef.

The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
The god Duamutef is one of the Four Sons of Horus, is depicted with the head of a jackal and is connected with the east.
Duamutef was the guardian of the stomach of the deceased. During the mummification process, the internal organs of the deceased were removed to prevent decay. These organs were then placed in canopic jars. Each jar was associated with one of the four sons of Horus, and Duamutef's jar specifically held the stomach. The Ancient Egyptians believed that the deceased needed their organs intact for rebirth in the afterlife. By guarding the stomach, Duamutef ensured that this vital organ remained preserved and protected. Canopic Jars were essential containers for the internal organs. They often featured stoppers adorned with the heads of the respective gods. Duamutef's jackal head was a common motif on these jars, signifying his role in safeguarding the stomach. So, when the deceased appeared before Duamutef, it was a moment of protection and preservation of their stomach for the afterlife.

Scene 8.
Scene 8 and the head of Prince Amenherkhepshef.

The pharaoh holds with his left hand the right hand of the god Duamutef, while both make a gesture of greeting.
The bottom photo is showing Prince Amenherkhepshef with the typical children's hairstyle: a shaved skull with a large lock of hair, braided at the top, fastened with an ornamental band and falling sideways, covering one ear.
Photograph copyright www.meretsegerbooks.com.

Scene 9

Scene 9 shows Ramesses III on the right side and the god Hapy on the left side.

The pharaoh faces the inside of the tomb and the god faces the outside of the tomb.
Hapy, who is one of the Four Sons of Horus, has the head of a baboon and is connected with the north.
Hapy was associated with the protection and preservation of the lungs, which were removed during mummification. The lungs were placed in a canopic jar dedicated to Hapy. Hapy is typically depicted as a baboon-headed deity. His baboon form symbolized vigilance and protection. Each of the four sons of Horus had a corresponding canopic jar. Hapy's jar contained the lungs and was usually made of stone or pottery. The lid of the jar featured Hapy's baboon head. Hapy's role extended beyond physical protection. He also represented the concept of balance and harmony, as the lungs were associated with breath and life.

Scene 9.
Pharaoh Ramesses III (right) and the god Hapy (left).

The pharaoh holds with his right hand the left hand of the god Hapy, while both make a gesture of greeting.
The baboon was closely connected to the god Thoth, who was associated with wisdom, writing, and lunar cycles. Thoth was often depicted with a baboon head, emphasizing the baboon's lunar symbolism.
Baboons were known for their nocturnal behavior and their vocalizations during the moonlit nights. This association with the moon linked them to cycles, transformation, and the passage between realms (day and night).
Hapy's baboon-headed form symbolized his guardianship over the lungs, his connection to the north, and his role in guiding souls toward eternal life.
Photograph copyright www.meretsegerbooks.com.

Scene 10

Scene 10 shows, from left to right, the young prince accompanying Ramesses III greeting the god Imsety.

The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
The god Imsety is one of the the Four Sons of Horus, is depicted with the head and body of a human and is connected with the south.
Imsety's primary duty was to protect the liver of the deceased. In the intricate process of mummification, the internal organs were carefully removed and placed in canopic jars. Imsety specifically guarded the jar containing the liver. Symbolically, the liver was considered the seat of human emotions by the ancient Egyptians. Thus, Imsety's role extended beyond the physical preservation of the organ; he also played a part in ensuring the well-being of the deceased's emotional essence. The appearance of the deceased before Imsety represented an important moment in their journey—a connection between physical preservation, emotional well-being, and the promise of an eternal existence beyond death.

Details of Scene 10.
Prince Amenherkhepshef (left) accompanying Pharaoh Ramesses III (center) greeting the god Imsety (right).

The deceased would encounter Imsety during their journey to the afterlife, where he ensured the preservation of both physical and emotional aspects, particularly the liver—a vital organ for eternal existence.
To the ancient Egyptians, the liver was more than a physical organ—it was believed to be the center of human emotions. Imsety's role extended beyond mere physical preservation; he also guarded the emotional well-being of the deceased.
Photograph copyright www.meretsegerbooks.com.

Scene 11

Scene 11 shows, from right to left, the young prince accompanying Ramesses III greeting the goddess Hathor.

The prince and the pharaoh face the inside of the tomb and the goddess faces the outside of the tomb. The goddess Hathor does not appear in Prince Khaemwaset 's tomb (QV44).
Hathor was associated with the sky and revered as the mother or consort of both the sky god Horus and the sun god Ra. These connections tied her to kingship, symbolizing her role as the symbolic mother of earthly representatives—the pharaohs. As one of the goddesses who embodied the Eye of Ra, Hathor had a dual aspect. She could be vengeful, protecting Ra from his enemies, but also benevolent, representing music, dance, joy, love, sexuality, and maternal care. Depicted as a cow, Hathor symbolized both maternal and celestial aspects. Her most common form featured a woman wearing a headdress of cow horns and a sun disk. Hathor embodied femininity, bridged worlds, and guided souls through the transition to the afterlife.

Detail of Scene 11.
Prince Amenherkhepshef (right), Pharaoh Ramsesses III (center) and the goddess Hathor (left).

The goddess Hathor is represented with cow horns because the cow was revered in ancient Egypt as a symbol of fertility, nourishment, and abundance. By associating Hathor with cow horns, she embodied these qualities. Just as a cow provides milk to sustain life, Hathor was believed to nurture and sustain both humans and gods.
The shape of the cow horns also resembled the crescent moon. Hathor, as a sky goddess, was closely linked to celestial bodies. The moon's cycles, like the waxing and waning of the crescent, mirrored her dual aspects—gentle and nurturing, yet capable of fierce protection.
Hathor was often depicted as a nurturing mother figure. The cow horns emphasized her maternal role, emphasizing her protective and caring nature. She was considered a guardian of the pharaohs and their people.
The sun disk (or solar disk) often rested between the cow horns on Hathor's headdress. This combination represented the merging of feminine and solar energies. Hathor was both the nurturing mother and the radiant sun, bringing warmth and light.
Hathor's association with fertility extended beyond physical fertility to creativity, abundance, and sensuality. The cow horns symbolized the generative power of life and the cyclical nature of creation.
Hathor's headdress, with the sun disk and cow horns, represented the harmonious balance between earthly and cosmic forces. She bridged the gap between the mortal realm and the divine, connecting humanity to the wider universe.
Photograph copyright www.meretsegerbooks.com.

Scene 12

Scene 12 shows, from left to right, the young prince accompanying Ramesses III greeting the goddess Isis.

The prince and the pharaoh face the inside of the tomb and the goddess faces the outside of the tomb.
Isis was revered as the mother of Horus, the falcon-headed god associated with kingship and protection. She possessed powerful magical abilities and was considered a healer. Her knowledge of spells and incantations was legendary. Perhaps her most famous role was as the wife of Osiris, the god of the afterlife and resurrection. Isis was instrumental in Osiris' resurrection after he was murdered by his brother Set. She reassembled his dismembered body, symbolizing the restoration of life. Isis represented the ideal mother, wife, and protector. Her wings often sheltered the deceased in tomb paintings, signifying her role in guiding souls to the afterlife.

Scene 12.
Prince Amenherkhepshef (left), Pharaoh Ramesses III (center) and the goddess Isis (right).

The cow was revered in ancient Egypt as a symbol of femininity, nourishment, and abundance. By incorporating cow horns into her headdress, Isis emphasized her nurturing and protective nature. She was often depicted as a caring mother figure.
During the New Kingdom (around 1550–1070 BCE), Isis assimilated traits from the preeminent goddess Hathor. Hathor was associated with love, music, and joy. As a result, Isis began wearing Hathor's headdress—a sun disk between the horns of a cow.
The sun disk represented cosmic power, divinity, and the sun's life-giving energy. The cow horns symbolized fertility, abundance, and the cyclical nature of life. They also connected Isis to the moon, emphasizing her role in feminine cycles.
An ancient myth explains the cow-horn headdress: It is said that Horus, Isis's son, beheaded her during a conflict. In response, Isis replaced her original head with that of a cow. This origin story became part of her iconography, reinforcing her maternal and protective attributes.
Isis's cow-horn headdress symbolized her connection to femininity, motherhood, and cosmic forces. She embodied both earthly care and celestial power.
Photograph copyright www.meretsegerbooks.com.

NORTHWEST CHAMBER GATE (D)

This gate lies in the right (northwest) wall of the vestibule and leads to the Northeast Chamber (E). The gate is undecorated.

A mummified fetus, found in the tomb of Prince Ahmose (QV88) by the Italian Archaeological Expedition in 1903, is now on display in this gate behind the glass barrier.

NORTHWEST CHAMBER (E)

This side chamber was left unfinished, with only the plaster and a few line drawings of figures on the walls.

BURIAL CHAMBER GATE (F)

The outer lintel is decorated with a winged sun disk and the reveals contain the titles of Rameses III.

The thicknesses have representations of Nephthys (right) and Isis (left) performing the Nini ritual.
The goddesses have their hands in the gesture of welcome (njnj).
In the tomb of Djehutyemheb (TT45), the goddess Hathor says to Djehutyemheb: «My arms are in a njnj gesture to receive you, my heart mingles with your form. I will announce you to the great god, that he may say to you "welcome". I will make broad the place for your corpse, I will sanctify the place for your body.»

Burial Chamber Gate.
On the right side of the gate, the prince and pharaoh greet the goddess Hathor. On the left side of the gate, the prince and the pharaoh greet the goddess Isis.

Beyond the gate we can see the Burial Chamber (G), and the tomb.
Photograph copyright www.meretsegerbooks.com.

Nephthys (top) and Isis (bottom) performing the Nini ritual.
The thicknesses of the Burial Chamber Gate (F) have representations of Isis (left) and Nephthys (right) performing the Nini ritual.

The goddesses have their hands in the gesture of welcome (njnj).

BURIAL CHAMBER (G)

Generally mistaken as a corridor, Burial Chamber (G) in fact served as the burial chamber of Prince Amenherkhepshef.

The walls are decorated with four gate guardians (gates 5 to 8) from Spell 145 of the Book of the Dead. Again, the king is the dominant figure and interacts with the deities while the prince stands behind. The sarcophagus was originally found in this chamber and later moved to the West Chamber - K.
The vestibule was a transitional space leading from the outside world into the tomb's inner sanctum. It represented a threshold between the earthly realm and the realms of the gods. Visitors, including mourners, family, and friends, would pass through the vestibule on their way to the deeper parts of the tomb. Symbolically, it marked the boundary between the mundane world and the sacred space where the deceased's spirit resided.
The burial chamber was the heart of the tomb, located deeper within. It housed and protected the body and spirit of the deceased. Inside the burial chamber, the physical remains of the deceased (often in a coffin) rested. Grave goods, such as jewelry, food, and other items deemed important for the afterlife, were also placed here. The burial chamber was considered a sacred space, where rituals and offerings were made to ensure the deceased's safe journey to the afterlife.
The vestibule acted as an entryway, connecting the earthly and divine realms, while the burial chamber held the physical remains and served as a focal point for funerary practices and offerings.

Scene 13

Scene 13 shows the god Horus-Iunmutef.

The god faces the gate of the chamber.
The god Horus-Iunmutef wears the typical costume of an Iunmutef priest.
With his right arm stretched out in front of his chest, he welcomes Prince Amenherkhepshef at the entrance to the burial chamber.
Iunmutef symbolizes the caring son of Osiris within the context of Horus. This concept emerges from the cult of the dead, emphasizing the relationship between the deceased and the divine. As the son who cares for his dead father, Iunmutef embodies the nurturing and protective aspect associated with filial duty in Egyptian mythology.

Detail of Scene 13.
Her-iunmutef (Iunmutef), ('Horus, Pillar of His Mother'), depicted as a priest wearing a leopard-skin over torso.

The god wears a short black wig, which is bordered at the forehead with a yellow band. In the middle of this band, a uraeus is shown.
On top of the wig lies a long blue lock of hair, which closely resembles the typical hairstyle of Prince Amenherkhepshef, but with a big curl at the end of the lock of hair.
The god Horus, who functions here as an Iunmutef priest, wears the typical leopard skin.
The face of the god is turned towards the vestibule, because he has to welcome the deceased prince, whom he will later introduce to the gods shown in the burial chamber.
Photograph copyright www.meretsegerbooks.com.

Scene 14

Scene 14 shows the god Horus-Iunmutef.

The god faces the gate of the chamber.
Horus-Iunmutef appears on pillars within the burial chamber. According to religious beliefs, the burial chamber served as the “golden hall” where the deceased underwent regeneration. The wall paintings characterize Amenherkhepshef's beauty and guide his journey through the afterlife. Chapters from the Book of the Dead inspired these pictograms.

Scene 15

Scene 15 shows, from right to left, Prince Amenherkhepshef, Pharaoh Ramesses III, gate 5 and the guardian of gate 5.

The prince and the pharaoh face the inside of the tomb and the guardian of the gate faces the outside of the tomb.
The text of pylon five in chapter 145 of the Book of the Dead reads like this: «The Osiris Auf-ankh, triumphant, saith:- "Homage to thee", saith Horus, "O thou fifth pylon of the Still-Heart. I have made [my] way. I know thee, and I know thy name, I know the name of the god who guardeth thee. 'Lady of splendour, lady of praises, lofty one, Neb-er-tchert, the lady to whom supplications are made and unto whom none entereth...' is thy name. The name of the god who guardeth thee is 'Erta-hen-er-regau'. I have washed myself in the water wherein Horus washed himself when he made himself the Chief reader and Sa-mer-f for his father Osiris. I have anointed myself with aber unguent [made] of holy offerings, I have upon me the skin of the panther, and I have with me my sceptre wherewith to smite those who are black of heart." [Saith the pylon:-] "Pass on, then, thou art pure."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLV, V)
Chapter 145 and 146 of the Book of the Dead are two versions of one and the same text. The version of chapter 146 reads like this: «The Osiris Nu, when he cometh to the fifth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of the god who guardeth you. 'Fire, the lady of flames, who inhaleth the supplications which are made to her, who permitteth not the... to enter in', is thy name. The name of thy doorkeeper is 'Henti-Requ'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, V)
The name of the goddess of gate 5 is "Fiery One", and the name of the guardian of gate 5 is "Killer Of Opponents", with a black dog's head.

Detail of Scene 15.
Prince Amenherkhepshef (right) and Pharaoh Ramesses III (left).

Prince Amenherkhepshef is carrying in his left hand a khu-fan.
Pharaoh Ramesses is standing with his arms down and is wearing the nemes headdress. Above the pharaoh's head, to the left, the two cartouches of Ramesses III are depicted.
Photograph copyright www.meretsegerbooks.com.

Scene 16

Scene 16 shows, from right to left, Pharaoh Ramesses III, gate of northwest chamber, gate 6 and the guardian of gate 6.

The prince and the pharaoh face the inside of the tomb and the guardian of the gate faces the outside of the tomb.
The text of pylon six in chapter 145 of the Book of the Dead reads like this: «The Osiris Auf-ankh, triumphant, saith:- "Homage to thee", saith Horus, "O thou sixth pylon of the Still-Heart. I have made [my] way. I know thee, and I know thy name, and I know the name of the god who guardeth thee..., 'lady to whom abundant supplication is made...; the difference between whose height and breadth is unknown; the like of whom for strength hath not been overturned (?) since the beginning; the number of the serpents which are there upon their bellies is unknown; the divine image, the strengthener out of the night, being born in the presence of the Still-Heart', is thy name. The name of the god who guardeth thee is 'Samti'. I have washed myself in the water wherein the god Thoth washed himself when he made himself the tchat of Horus. I have anointed myself with aka unguent, I have arrayed myself in apparel of thesthes, and I have with me my sceptre of sept wood." [Saith the pylon:-] "Pass on, then, thou art pure."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLV, VI)
Chapter 145 and 146 of the Book of the Dead are two versions of one and the same text. The version of chapter 146 reads like this: «The Osiris Nu, when he cometh to the sixth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of the god who guardeth you. 'Lady of light, the lady to whom abundant supplication is made; the difference between her height and her breadth is unknown; the like of her hath never been found since the beginning. There is a serpent thereupon whose size is not known; it was born in the presence of the Still-Heart,' is thy name. The name of the doorkeeper is 'Semamti'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, VI)
The name of the goddess of gate 6 is "Mistress Of Darkness", and the name of the guardian of gate 6 is "Destroyer", with a ram's head.

Detail of Scene 16.
Scene 16 is divided by the northwest chamber gate. The lintel of the northwest chamber gate is decorated with a winged sun disk and the reveals contain the titles of Rameses III.

The winged sun disk is associated with divinity, royalty, and supreme power. Typically, it is depicted as a solar globe carried on the hawk wings of the god Horus, often surmounted by the spreading horns of the ram god Amun. It is often flanked by a uraeus (a coiled snake), symbolizing royal authority and protection. The winged sun disk was carved over doorways on Egyptian tombs and temples, serving as a protective emblem.
Photograph copyright www.meretsegerbooks.com.

Scene 17

Scene 17 shows, from left to right, Prince Amenherkhepshef, Pharaoh Ramesses III, gate 7 and the guardian of gate 7.

The prince and the pharaoh face the inside of the tomb and the guardian of the gate faces the outside of the tomb.
The text of pylon seven in chapter 145 of the Book of the Dead reads like this: «The Osiris Auf-ankh, triumphant, saith:- "Homage to thee", saith Horus, "O thou seventh pylon of the Still-Heart. I have made [my] way. I know thee, and I know thy name, and I know the name of the god who guardeth thee. 'Waterflood which clotheth the feeble one, weeper for that which she loveth, shrouding the body', is thy name. The name of the god who guardeth thee is 'Am-Nit'. I have washed myself in the water wherein the goddesses Isis and Nephthys washed themselves when they passed the Crocodile with his crocodiles on their way to the opening of the place of purity. I have anointed myself with hekenu unguent, I have arrayed myself in unkh apparel, and I have with me my sceptre and [my] paddle." [Saith the pylon:-] "Pass on, then, thou art pure."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLV, VII)
Chapter 145 and 146 of the Book of the Dead are two versions of one and the same text. The version of chapter 146 reads like this: «The Osiris Nu, when he cometh to the seventh pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of the god who guardeth you. 'Robe which doth clothe the divine feeble one, weeping for what it loveth and shrouding the body', is thy name. The name of the doorkeeper is 'Akenti'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, VII)
The name of the goddess of gate 7 is "Veiler Of The Weary One (Osiris)", and the name of the guardian of gate 7 is "Ikenti", with an ox's head.

Detail of Scene 17.
A representation of the guardian of gate 7, Ikenti, as a man with the head of an ox, holding a knife on each hand.

Scene 18

Scene 18 shows, from left to right, Prince Amenherkhepshef, Pharaoh Ramesses III, gate 8 and the guardian of gate 8.

The prince and the pharaoh face the inside of the tomb and the guardian of the gate faces the outside of the tomb.
The text of pylon eight in chapter 145 of the Book of the Dead reads like this: «The Osiris Auf-ankh, triumphant, saith:- "Homage to thee', saith Horus, 'O thou eighth pylon of the Still-Heart. I have made [my] way. I know thee, and I know thy name, and I know the name of the god who guardeth thee. 'She that belongeth to her lord, the mighty goddess, the gracious one, the lady who giveth birth to the divine form of her lord', or as others say, 'who passeth through and traverseth [the land], the head [of which] is millions of cubits in depth and in height', is thy name. The name of the god who guardeth thee is 'Netchses'. I have washed myself in the water wherein the god Anpu washed when he had performed the office of embalmer and bandager, or as others say, the Chief reader of Osiris. I have anointed myself with seft unguent, I have arrayed myself in apparel of atma, and I have my garment(?) of enen stuff, or as others say, of cat's skin(?) with me." [Saith the pylon :-] "Pass on, then, thou art pure."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLV, VIII)
Chapter 145 and 146 of the Book of the Dead are two versions of one and the same text. The version of chapter 146 reads like this: «The Osiris Nu, when he cometh to the eighth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of the god who guardeth you. 'Blazing fire, the flame whereof [cannot] be quenched, provided with tongues of flame which reach afar, the slaughtering one, the irresistible one through whom a man may not pass by reason of the hurt which she doeth', is thy name. The name of the doorkeeper is 'Khu-tchet-f'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, VIII)
The name of the goddess of gate 8 is "Lighter Of Flames – Extinguisher Of Heat", and the name of the guardian of gate 8 is "Protector Of His Body", with a falcon's head.

Detail of Scene 18.
A representation of the guardian of gate 8, Qutgetef, as a man with the head of a falcon, holding a knife on each hand.

The guardian of gate 8 is depicted similarly to the god Shezmu.
Shezmu was considered a god of ointments, perfume, and wine. In this role, he was associated with festivities, dancing, and singing. But he was also considered a god of blood, who could slaughter and dismember other deities. It is thought possible that the ancient Egyptians used red wine to symbolize blood in religious offerings, explaining why Shesmu is associated with both blood and wine.
In Old Kingdom Pyramid Texts, several prayers ask Shezmu to dismember and cook certain deities in an attempt to give the food to a deceased king. The deceased king needed the divine powers to survive the dangerous journey to the stars.
Photograph copyright www.meretsegerbooks.com.

Scene 19

Scene 19 shows Prince Amenherkhepshef.

The prince is greeting the goddess Wadjet who is in front of him.

Scene 20

Scene 20 shows, from left to right, Prince Amenherkhepshef and Ramses III.

The prince and the pharaoh are greeting the goddess Wadjet who is in front of them.

Detail of Scene 20.
In this photo we can see part of scene 18 (Shezmu) on the left side and part of scene 20 (Amenherkhepshef and Ramses III) on the right side.

Prince Amenherkhepshef is carrying in his left hand a khu-fan and greets with his raised right hand the goddes Wadjet.
To the right of the prince, Ramesses is standing with his arms raised and wearing the nemes headdress.
Photograph copyright www.meretsegerbooks.com.

Scene 21

Scene 21 shows the goddess Wadjet protecting the cartouche of Ramesses III.

Scene 22

Scene 22 shows the goddess Wadjet protecting the cartouche of Ramesses III.

Detail of Scene 22.
The goddess Wadjet on the left side of the wall.

Wadjet was revered as the goddess of protection. She played a crucial role in safeguarding the pharaohs, women, and children. Her image often adorned the tombs of the deceased, symbolizing her protective influence during their journey into the afterlife.
Beyond her protective role, Wadjet was associated with the concept of the afterlife. She was believed to guide the souls of the dead through the underworld, ensuring their safe passage to the realm beyond.
Wadjet was also linked to the Eye of Ra, symbolizing power and healing in Egyptian culture. Her presence extended beyond the earthly realm, offering solace and guidance to the departed.
Photograph copyright www.meretsegerbooks.com.

SOUTHEAST CHAMBER GATE (H)

The Northwest Chamber Gate (H) lies in the northwest (right) wall of Burial Chamber (G) and leads to the Northwest Chamber (I).

It's lintel is decorated with a winged sun disk and the reveals contain the titles of Rameses III.

SOUTHEAST CHAMBER (I)

While the cutting of the chamber was completed, it was not decorated.

WEST CHAMBER GATE (J)

This is the last gate in the tomb.

The lintel is decorated with winged ureai and the reveals contain the titles of Rameses III.
The right thickness contains an unfinished representation of Nephthys, while the left is undecorated.
It would presumably have contained a representation of Isis.

West Chamber Gate.
On the lintel of the west gate we can see the winged sun above, and below the two goddesses Wadjet, one on each side of the wall.

Through the gate we can see the sarcophagus which is now placed in the west chamber, but was originally placed in the burial chamber.
Photograph copyright www.meretsegerbooks.com.

WEST CHAMBER (K)

This is the last chamber in the tomb. It is undecorated.

Here, the sarcophagus, presumably meant to be used for the prince himself, is now located.
However, a sarcophagus with the prince's name was found in the tomb of Bay (KV 13), usurped from Queen Tausertby Amenherkhepshef in the 19th Dynastyand later by Mentuherkhepeshef (son of Rameses VI) during the 20th Dynasty.