Tomb of Prince Khaemwaset (QV44), Luxor

QV44 is one of several tombs located in the Valley of the Queens intended for the use of Ramesses III's sons. The painted reliefs decorating Khaemwaset's tomb illustrate his ritual and symbolic journey in the Afterlife as he meets the main gods of that region as well as the genies who guard the gates of the kingdom of Osiris.

QV44 is one of several tombs constructed for the sons of Ramesses III. Others are QV55 (Amun-her-khepeshef), QV53 (Ramesses), QV43 (Seth-her-khopsef), and QV42 (Pareherwenemef). Abitz argues that the princes are identified with the Four sons of Horus and are all real sons of the King. The decorations in these tombs focus more on the King than on his sons.

The tomb consist of a corridor, two side rooms, a second corridor and an inner room. The first part of the corridor is decorated with scenes showing King Ramesses III before a variety of gods and goddesses, including Ptah, Thoth, Anubis, Ra-Harakhty, Geb and more.

The side chambers include scenes of the Sons of Horus and the goddesses Isis, Nephtys, Neith and Serket.

The second corridor includes a scene showing Khaemwaset as an Iunmutef priest. Other scenes depict the Book of Gates.

The inner room is decorated with scenes showing the King before several gods and goddesses. Finds include part of a sarcophagus lid and remains of Canopic jars.

Entrance to the Tomb of Khaemwaset. The Tomb of Khaemwaset is located at the summit end of the southern path of the Valley of the Queens.

Resting from the heat and the climb. There is a tourist shelter to the right of the entrance.

Tomb of Khaemwaset Plan. Plan Legend: Entryway Vestibule Gate Vestibule Ramesses III and god Ptah-Sokar-Osiris Ramesses III and god Ptah Khaemwaset, Ramesses III and god Geb Khaemwaset, Ramesses III and god Thoth Khaemwaset, Ramesses III and god Shu Khaemwaset, Ramesses III and god Anubis Khaemwaset, Ramesses III and god Atum Ramesses III, god Ra-Horakthy and goddess Neith Northwest Chamber Gate Northwest Chamber Goddess Isis and the goddess Nephthys Goddess Neith and goddess Serket Khaemwaset and god Imsety Khaemwaset and god Duamutef Khaemwaset and god Hapy Khaemwaset and god Qebehsenuef Khaemwaset, god Bak and god Horus as a child Khaemwaset, god with the head of a dog and god Horus as a child Goddess Nephthys and god Osiris Goddess Isis and god Osiris Southeast Chamber Gate Southeast Chamber Goddess Neith and goddess Serket Goddess Isis and goddess Nephthys Khaemwaset and god Anubis Khaemwaset and god Anubis Khaemwaset, Four Sons of god Horus and goddess Neith Khaemwaset, Four Sons of god Horus and goddess Serket Goddess Isis and god Osiris Goddess Nephthys and god Osiris Burial Chamber Gate Burial Chamber God Horus-Iunmutef God Horus-Iunmutef Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 9 and the guardian of gate 9 Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 10 and the guardian of gate 10 Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 11 and the guardian of gate 11 Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 12 and the guardian of gate 12 Khaemwaset, Ramesses III, the incomplete chamber (gate 13) and the guardian of gate 13 Khaemwaset, Ramesses III, the incomplete chamber (gate 14) and the guardian of gate 14 Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 15 and the guardian of gate 15 Khaemwaset, Ramesses III, seven hieroglyphic columns, gate 16 and the guardian of gate 16 West Chamber Gate West Chamber Genie Nebneryu and god Herymaat God Anubis and a lion Ramesses III and god Horus-Khenty-Khety Ramesses III and god Thoth Ramesses III and god Shepsi Ramesses III and god Harsiesis Ramesses III, goddess Serket, goddess Nephthys, three lotuses and god Osiris Ramesses III, goddess Isis, goddess Neith, a lotus flower and god Osiris

ENTRYWAY (A)

• The short, slightly descending Ramp has modern retaining walls.

ENTRYWAY (A). Entry to the tomb is from the northeast. The central axis of the tomb is from northeast to southwest. On the left side of the entrance is tomb QV43, belonging to Prince Sethherkhepshef. On the right side of the entrance is tomb QV45, an unfinished tomb due to fracturing of the rock in the entrance and first chamber. Photograph copyright www.meretsegerbooks.com.

GATE (B)

This gate provides access to the tomb. It was recut after the tomb was constructed and decorated as it was too narrow for the granite sarcophagus. After the recutting, the gate was replastered and carved but was never painted. The gate now has a modern metal door with grill to prevent access once the site is closed and visiting hours have ended. The decoration on the lower parts of the reveals and thicknesses are lost, presumably due to past flooding events. There are post holes in the ceiling on either side of the doorway within the corridor for the original double wooden door.

Right wall

The only extant decoration remains on the right thickness and contains a fragmentary image of a winged kneeling Maat.

• Ramesses III and the prince are received by the goddess Maat at the entrance gate.
• 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.

Left wall

Nothing remains of the decoration on the left side of this gate.

VESTIBULE (C)

This corridor lies on axis with the tomb's entrance and has two side chambers, one to the northwest and one to the southeast. The ceiling is decorated with stars and a Kheker frieze runs along the upper parts of the walls. The scenes in this corridor center of the King, Ramesses III, and the prince offering to various deities. As with the tombs of the other sons of Ramesses III, the king is the dominant figure and interacts with the deities on behalf of his son.

Scene 1

Scene 1 shows Pharaoh Ramesses III on the right side and the god Ptah-Sokar-Osiris on the left side.

• The pharaoh faces the inside of the tomb and the god faces the outside of the tomb.
• In his left hand, Ramesses III holds an incense burner, offering incense to the god Ptah-Sokar-Osiris.
• The god Ptah-Sokar-Osiris is depicted with green skin.
• Ptah, Sokar, and Osiris collectively guide the soul through the transition from earthly existence to the afterlife. Ptah, as the creator god, ensures continuity and rebirth. Sokar oversees the necropolis, where the deceased find their final resting place. Osiris judges the soul, determining its fate based on earthly deeds. Ptah-Sokar-Osiris embodies all phases of existence, including rebirth. Worshipping this triad signifies a connection to creation, stability, and the journey beyond mortality. Devotees seek guidance through life's complexities, hoping for eternal peace and renewal in the afterlife.

Scene 2

Scene 2 shows Ramesses III on the left side and the god Ptah on the right side.

• The pharaoh faces the inside of the tomb and the god faces the outside of the tomb.
• Only the two cartouches of Pharaoh Ramesses III have been preserved.
• The god Ptah is in his red naos. The skin of the god has a light blue colour and he wears his characteristic dark blue cap.
• 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 3

Scene 3 shows, from right to left, Prince Khaemwaset, Ramesses III and the god Geb.

• The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
• Prince Khaemwaset, wearing the typical children's hairstyle, greets the god Geb.
• Pharaoh Ramesses III is offering incense to the god Geb. With his right hand, the pharaoh makes a libation at the feet of the god Geb.
• The god Geb holds the green was sceptre in his left hand and the blue ankh in his right hand.
• The appearance of the deceased Prince Khaemwaset before the gods was a solemn occasion. The deceased would typically be dressed in white linen garments. The choice of white had several symbolic meanings. White represented purity and cleanliness. It signified that the deceased had lived a virtuous life and was free from impurities. White also symbolized renewal and rebirth. The afterlife was seen as a new beginning, and the white attire reflected this transition. Osiris himself was often depicted wearing white linen. By dressing similarly, the deceased aligned themselves with Osiris during the judgment process.
• 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.

Details of Scene 3. Pharaoh Ramesses III (right) and the god Geb (left). The pharaoh wears a short blue wig with black meshes and a diadem. He wears a magnificent ceremonial dress. 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 Geb. With his right hand, the pharaoh makes a libation at the feet of the god Geb. The god Geb wears the red deshret crown of Lower Egypt, a turquoise necklace and a tunic. He holds the green was sceptre in his left hand and the blue ankh in his right hand. Photographs copyright www.meretsegerbooks.com.

Scene 4

Scene 4 shows, from left to right, the prince, his father Ramesses III and the god Thoth.

• The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
• Prince Khaemwaset greets the god Thoth with his left hand, whilst in his right hand he holds a flabellum and a sceptre.
• With both hands, Pharaoh Ramesses III offers wine to the god Thoth.
• The god is depicted as a man with a green ibis head.
• 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 a pivotal 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.

Detail of Scene 4. The head of the god Thoth. The god is depicted as a man with a green ibis head, wearing a blue tripartite wig of which the tails, as usual, end in a yellow band with horizontal red lines. The god carries a yellow disc resting on a yellow lunar crescent and wears the same armlets of gold and lapis lazuli as Pharaoh Ramesses III. Thoth holds in his right hand the green was sceptre. Only the upper part of the was is preserved. Photograph by Onceinawhile, distributed under a CC-BY 4.0 license.

Scene 5

Scene 5 shows, from right to left, Prince Khaemwaset, 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.
• Prince Khaemwaset is standing behind his father Pharaoh Ramesses III.
• The pharaoh holds with his right hand the left hand of the god Shu, while both make a gesture of greeting.
• The god Shu wears a green necklace, a tunic and the typical bracelets.
• 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.

Details of Scene 5. Scene 5 shows, from right to left, Prince Khaemwaset, Ramesses III and the god Shu. Prince Khaemwaset 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. Prince Khaemwaset wears a diaphanous white dress with wide sleeves. Typical for the tomb of Khaemwaset is the fact that, when men are dressed in diaphanous linen gowns, their skin shows through in a light pink colour. This is an artistic feature not found in the otherwise similar tomb of Prince Amenherkhepshef. The prince wears a colourful collar around his neck and holds the khu-fan in his left hand. Ramesses III wears the red deshret crown with two red ribbons attached to it. The outfit of the pharaoh consists of a tight shirt, a long white skirt and a white diaphanous linen jacket with wide sleeves. The pharaoh holds with his right hand the left hand of the god Shu, while both make a gesture of greeting. The god Shu wears a blue tripartite wig with black strands of hair and a green feather, held in place by a red hairband. Furthermore, he wears a green necklace, a tunic and the typical bracelets. Photographs copyright www.meretsegerbooks.com.

Scene 6

Scene 6 shows, from left to right, Prince Khaemwaset, his father Pharaoh Ramesses III and the god Anubis.

• The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
• Khaemwaset is standing behind his father, Pharaoh Ramesses III. Prince Khaemwaset greets the god Anubis.
• The upper body of the pharaoh is bare and he wears a long white diaphanous skirt, held at the waist by a wide belt.
• On the right side of the pharaoh, the god Anubis is depicted. Anubis, with the head of a dog, takes the left hand of the pharaoh in his right hand as a gesture of welcome.
• Anubis is revered as the god of mummification and the afterlife. Ancient Egyptians believed that he had tremendous power over both their physical and spiritual selves when they died. Anubis supervised the embalming and mummification process. Mummification was essential for preserving the body, allowing the soul (ka) to recognize and reunite with it in the afterlife. As the guide of souls, Anubis led the deceased through the perilous journey to the afterlife. He protected them from malevolent forces and ensured their safe passage. Anubis presided over the weighing of hearts in the Hall of Maat. He balanced the scales, comparing the heart's weight to the feather of truth (Maat). If the heart was lighter, the deceased ascended to a worthy existence in heaven; if heavier, they faced the devourer of the dead. Anubis played a crucial role in safeguarding tombs and cemeteries. His presence ensured that the deceased's resting place remained undisturbed.

Scene 6. Prince Khaemwaset (left), his father Pharaoh Ramesses III (center) and the god Anubis (right). The prince holds the sceptre and the khu-fan in his left hand and greets the god Anubis with his raised right hand. The pharaoh wears the pshent crown. The pshent crown is a combination of the deshret crown and the hedjet crown. Usually the hedjet crown has a white colour, but in this scene the hedjet is yellow. The pshent has a frontal uraeus. At the nape of the pharaoh's neck, two red ribbons are attached to the crown. The upper body of the pharaoh is bare and he wears a long white diaphanous skirt, held at the waist by a wide belt. Anubis, with the head of a dog, takes the left hand of the pharaoh in his right hand as a gesture of welcome. Both have their other arms raised in a gesture of greeting. The god Anubis wears a blue tripartite wig with black strands of hair. The tails of the blue tripartite wig end, as usual, in a yellow band with horizontal red lines. The god Anubis wears the traditional tunic. Behind the belt of the tunic, the ceremonial tail hangs down. The armlets, bracelets and the green necklace are of the usual type. Photograph by Onceinawhile, distributed under a CC-BY 4.0 license.

Scene 7

Scene 7 shows, from right to left, Khaemwaset, his father Ramesses III and the god Atum.

• The prince and the pharaoh face the inside of the tomb and the god faces the outside of the tomb.
• Prince Khaemwaset is standing behind his father Pharaoh Ramesses III.
• The pharaoh holds a yellow censer in his left hand, while with his right hand he greets the god Atum.
• The original wall paintings were nearly completely destroyed. The silhouette of the god Atum was carved into the layer of white plaster, but was never painted.
• Atum is considered the first god, emerging self-created from a mound that rose from the primordial waters known as the Nu—the state before time began. Atum went on to create other deities, including Shu (god of air), Tefnut (goddess of light), Geb (god of earth), and Nut (goddess of the sky). Thus, Atum is not only the father of the gods but also the creator of the world. Atum is closely linked to the setting sun and the afterlife. He represents both the beginning and the end of all things.

Scene 8

Scene 8 shows, from left to right, Ramesses III, the god Ra-Horakthy and the goddess Neith.

• The pharaoh faces the inside of the tomb, the god and the goddess face the outside of the tomb.
• The pharaoh wears a gold cap, embroidered with red rings and bordered with a yellow band.
• Ra-Horakthy has the head of a falcon. With his right hand, he holds the left hand of the pharaoh.
• The original wall paintings were nearly completely destroyed. The silhouette of the goddess Neith was carved into the layer of white plaster, but was never painted.
• Ra-Horakhty represents the morning sun and is a composite deity formed by merging Ra (the sun god) and Horus (the sky god). The name itself translates to "Ra, who is Horus of the Two Horizons." This amalgamation symbolizes the sun's journey from horizon to horizon—from sunrise to sunset. Ra-Horakhty represents hope, rebirth, and the eternal cycle of day and night. The merging of Ra and Horus emphasizes their combined roles as kingship, divine order, and balance. The appearance of the deceased before Ra-Horakhty signifies a pivotal moment—a passage from mortality to the eternal realm, guided by the sun's divine energy and cosmic order.
• Neith is one of the oldest deities in ancient Egypt. According to some stories, Neith was present at the creation of the world and may even be considered the creator herself. She invented birth and cared for the souls of the dead. Neith helped dress the deceased souls. Neith wields a bow and arrows, symbolizing her protective and fierce nature. Neith is renowned for her wisdom. Other deities would seek her out to resolve disputes among themselves. Neith's role extends to the afterlife. She stands watch over Duamutef, one of the Four Sons of Horus, who guards the canopic jars in tombs. She also appears alongside Osiris, Anubis, and Thoth as a just judge of the dead in the afterlife. Neith's festival touches upon the Osiris myth, emphasizing her part in his resurrection. She opens the way for the deceased to communicate with the living, similar to how she aided Isis and Nephthys in bringing Osiris back to life.

NORTHWEST CHAMBER GATE (D)

This gate is cut into the northwest wall of the corridor and provides access to the right side chamber. The floor is higher than that of the corridor. The lintel is decorated with a winged sun disk, the reveals with the titles of Ramesses III, and the thicknesses with images of Horus-Iwnmutef.

Left side

On the left side of the entrance to the northwest chamber, the god Horus is depicted as an Iunmutef priest.

• 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 this chamber.
• The Iunmutef priest supervised the placement of the deceased's body or mummy in the tomb. They ensured that all necessary items, such as food, clothing, and personal belongings, accompanied the deceased. The priest recited specific funerary texts and spells. These magical incantations were inscribed on tomb walls or papyrus scrolls and aimed to protect the deceased from dangers in the afterlife. During the funeral, the Iunmutef priest invoked various deities. They called upon gods like Anubis (the embalmer and guide to the underworld) and Osiris to assist the deceased on their journey. The Iunmutef priest participated in the "Opening of the Mouth" ritual. This ceremony symbolically restored the deceased's senses and allowed them to partake in the offerings and nourishment provided by their family. Before sealing the tomb, the Iunmutef priest offered a final blessing. This blessing ensured the deceased's safe passage to the realm of Osiris and their eventual judgment before the gods.

Right side

The god Horus is also depicted as an Iunmutef priest.

• Here too, Horus wears the typical leopard skin and his face is turned towards the vestibule.
• The god Horus raises his right arm as a welcome gesture to the deceased prince.
• The Iunmutef priest was responsible also for maintaining a connection between the deceased and their ancestors. They ensured that the deceased received proper offerings and rituals to sustain their existence in the afterlife. The priest performed essential rituals, including purification, anointing, and incense offerings. These ceremonies aimed to ensure the deceased's well-being and facilitate their journey to the realm of Osiris (the god of the afterlife).

NORTHWEST CHAMBER (E)

This side chamber lies to the northwest of the first corridor. There is evidence of cracking in the plaster of the walls and the ceiling has several small losses in painted plaster. The prince is shown here interacting with the deities without the assistance of his father. He wears the side lock of youth. The main scene is situated on the northwest wall and consists of a double scene with Isis before Osiris seated and Nephthys before Ptah-Sokar seated. The side walls show the prince offering to the various deities.

NORTHWEST CHAMBER (E). This right side chamber lies to the northwest of the vestibule.

Scene 9

Scene 9 shows the goddess Isis depicted on the right and the goddess Nephthys on the left.

• Both goddesses face the gate of the chamber.
• 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.
• Nephthys was associated with death, mourning, and lamentation. She wept for Osiris during his trials and assisted in his resurrection. Nephthys guarded the entrance to the underworld and protected the deceased. She was often depicted on coffins and tomb walls. While Isis represented life and rebirth, Nephthys embodied the darker aspects of existence. Together, they formed a balanced pair—one representing birth and the other death.
• The goddesses Isis and Nephthys embody the cyclical nature of life, death, and rebirth, and their intertwined roles resonate throughout Egyptian mythology and religious practices.

Scene 10

Scene 10 shows the goddess Neith depicted on the left and the goddess Serket on the right.

• Both goddesses face the gate of the chamber.
• Neith was the creator goddess, often associated with the primeval waters and the act of creation. She was also a warrior goddess, depicted with a bow and arrows. Neith was the patroness of weaving, symbolizing the interconnectedness of life. Her emblem was a shuttle. She was considered the mother of Ra, the sun god, and sometimes the mother of Osiris. Neith was linked to the afterlife, guiding souls through their journey. Her symbol was a bow and crossed arrows, representing her dual nature as both a creator and a protector.
• Serket was often depicted as a woman with a scorpion gracing her crown. She held the ankh (symbol of life) and a was-scepter (representing power). She guarded against venomous creatures, particularly scorpions and snakes. Her name means "the one who causes the throat to breathe," alluding to the effects of scorpion stings. Serket could both inflict and cure scorpion stings and other venomous bites. She was prayed to for healing. Serket protected the canopic jar associated with the intestines of the deceased. This jar was later deified as Qebehsenuef, one of the four sons of Horus. Serket shared functions with other protective goddesses like Neith, Isis, and Nephthys. She gained a strong association with Neith, who also performed similar roles.
• Neith and Serket represent different aspects of Egyptian spirituality: creation, protection, healing, and the interconnectedness of life. Their roles intertwine, emphasizing the cyclical nature of existence and the importance of both light and darkness in the cosmic balance.

Scene 11

Scene 11 shows Prince Khaemwaset on the right side and the god Imsety on the left side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset is standing in adoration before Imsety.
• The god Imsety is one of the the Four Sons of Horus and is depicted with the head and body of a human.
• 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 a pivotal moment in their journey—a connection between physical preservation, emotional well-being, and the promise of an eternal existence beyond death.

Scene 12

Scene 12 shows Prince Khaemwaset on the left side and the god Duamutef on the right side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset stands, with both hands raised, in adoration before the god Duamutef.
• The god Duamutef is one of the Four Sons of Horus and is depicted with the head of a jackal.
• 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.

Detail of Scene 12. Head of the god Duamutef. The god Duamutef is one of the Four Sons of Horus and is depicted with the body of a human and the head of a jackal. Duamutef wears a blue tripartite wig, all parts ending in a yellow band with red horizontal lines. The inside of the left ear of the god Duamutef is coloured white with thin red lines. Photograph copyright www.meretsegerbooks.com.

Scene 13

Scene 13 shows Prince Khaemwaset on the right side and the god Hapy on the left side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset is with his right arm raised towards the god Hapy as a sign of greeting.
• Hapy, who is one of the Four Sons of Horus, has the head of a baboon.
• 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.

Detail of Scene 13. Head of the god Hapy. Hapy wears a blue tripartite wig, which is partly covered by a white ear with red horizontal lines. Photograph copyright www.meretsegerbooks.com.

Scene 14

Scene 14 shows Prince Khaemwaset on the left side and the god Qebehsenuef on the right side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset right arm is raised as a sign of greeting to the god Qebehsenuef.
• The god Qebehsenuef, who is one of the Four Sons of Horus, is depicted with the head of a falcon.
• 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 15

Scene 15 shows, from right to left, Prince Khaemwaset, the god Bak and the god Horus as a child.

• The prince faces the interior of the chamber and the gods face the gate of the chamber.
• The prince stands, with both hands raised, in adoration before the god Bak and the god Horus as a child.
• The god Bak vaguely resembles the god Thoth. Bak has the head of a stilt and a long pointy black beak.
• To the left of the god Bak stands the god Horus the child. The same god Horus the child is depicted on the right end of the opposite wall.
• Bak is associated with various aspects, including fertility, virility, and the afterlife. The appearance of the deceased before Bak could be seen as a theophany—an extraordinary manifestation of a deity to a mortal. Theophanies serve as moments of intensive divine presence, emphasizing that the god is always with their people and faithful to their covenant.
• Horus was often depicted as a falcon-headed deity, and one of his forms was that of Horus the Child or Harpocrates. As Harpocrates, he symbolized innocence, protection, and rebirth. His portrayal as a child emphasized purity and vulnerability, representing the cycle of life, death, and resurrection. The appearance of the deceased before Horus as a child reflects themes of justice, rebirth, and the eternal struggle between good and evil.

Detail of Scene 15. Head of the god Bak. Bak has a human body, the head of a stilt and a long pointy black beak and wears a blue tripartite wig. Photograph copyright www.meretsegerbooks.com.

Scene 16

Scene 16 shows, from right to left, Prince Khaemwaset, a god with the head of a dog and the god Horus as a child.

• The prince faces the interior of the chamber and the gods face the gate of the chamber.
• The prince stands, with both hands raised, in adoration before a god with the head of a dog and the god Horus as a child.
• The god who is depicted with a dog-like head is the embodiment of the Ennead of the Duat.
• Horus the child has the head of a falcon.
• The dog-headed god is called "the Entire Ennead of the Duat". This implies that the god is an embodiment of the gods of the netherworld.
• Horus, the son of Isis and Osiris, birth story is rich with symbolism and themes of rebirth, kingship, and divine protection. As a child, Horus was raised by Isis to protect him from Seth's harm. When he came of age, he challenged Seth to avenge his father's death. Their battle symbolized the struggle between light (Horus) and darkness (Seth) and the fight for succession to the throne.

Detail of Scene 16. Head of the god with the head of a dog. The god who is depicted with the body of a human and a dog-like head is the embodiment of the Ennead of the Duat. Photograph copyright www.meretsegerbooks.com.

Scene 17

Scene 17 shows the goddess Nephthys on the right side and the god Osiris on the left side.

• The goddess faces the interior of the chamber and the god faces the gate of the chamber.
• Facing the god Osiris, stands the goddess Nephthys. Nephthys wears a red dress with a blue belt, with two blue ribbons hanging down. The left arm of the goddess is raised, while the right arm is lowered.
• In front of the god's feet, a green lotus flower is depicted. On both sides of this lotus flower, a reddish-brown stem with a green leaf is depicted.
• The god Osiris sits on a throne with a yellow wooden frame and red pillows. The face and neck of the god is coloured green. He holds in both hands – which are also coloured green – the typical royal regalia: the crook in his left hand and the flail in his right.
• Nephthys was a daughter of Nut (the sky goddess) and Geb (the earth god). She had several siblings, including her more famous sister, Isis, and her brothers Osiris, Haroeris (Horus the Elder), and Set. Nephthys was typically paired with her sister Isis in funerary rites. Together, they played a crucial role as protectors of the mummy and the god Osiris during the afterlife journey. Nephthys and Isis were often depicted together, emphasizing their complementary roles. Nephthys was also the sister-wife of Set, who was Osiris's brother. While Isis and Osiris had a loving relationship, Nephthys and Set's relationship was less harmonious. Nephthys symbolized the death experience, just as Isis represented the birth experience. She was associated with various aspects, including mourning, night/darkness, service in temples, childbirth, protection, magic, health, and embalming. Anubis, the jackal-headed god associated with mummification and the afterlife, was believed to be her son. Her relationship with Osiris was intertwined with their shared responsibilities in the afterlife journey.
• Osiris was not only a god of fertility but also the embodiment of the dead and resurrected king. This dual role was closely tied to the Egyptian concept of divine kingship. When an earthly king died, he was believed to transform into Osiris, the god of the underworld. In this transition, the deceased king's son (the living king) would be identified with Horus, a sky god. Osiris was slain or drowned by his brother Seth, who coveted Osiris's throne. Seth tore Osiris's body into 14 pieces and scattered them across Egypt. Osiris's sisters, searched for and reassembled the scattered body parts, except for the phallus. Their efforts brought Osiris back to life, and he became the ruler and judge of the underworld. Osiris's throne symbolizes authority, judgment, and power. As the ruler of the dead, he presided over the souls passing into the afterlife. Those who passed Osiris's tests were granted entry into the Blessed Land, a realm free from sorrow and pain.

Scene 18

Scene 18 shows the goddess Isis on the left side and the god Osiris on the right side.

• The goddess faces the interior of the chamber and the god faces the gate of the chamber.
• Facing the god Osiris, stands the goddess Isis. Isis wears the red deshret crown of Lower Egypt. The right arm of the goddess is raised, while the left arm is lowered.
• In front of the god's feet, a green lotus flower is depicted. On both sides of this lotus flower, a reddish-brown stem with a green leaf is depicted.
• The god Osiris sits on a throne with a yellow wooden frame and red pillows. The face and neck of the god is coloured green. He holds in both hands – which are also coloured green – the typical royal regalia: the crook in his right hand and the flail in his left.
• In rites connected with the dead, Isis played a crucial role. She was associated with mourning and funerary rituals. Isis possessed healing abilities and could cure the sick. She was also believed to bring the deceased back to life. As a mother figure, she served as a role model for all women. According to this myth, Osiris married Isis, making her the queen of Egypt. Isis supported her husband and taught Egyptian women essential skills like weaving, baking, and brewing beer. However, Osiris's brother, Seth, grew jealous and plotted to kill him. Seth succeeded in murdering Osiris, dismembering his body, and scattering the pieces. Devastated, Isis searched tirelessly for her husband's remains. With her magical abilities, she reassembled Osiris's body, except for his phallus. She then briefly revived him, and they conceived their son, Horus. Osiris became the ruler of the underworld, while Horus, with Isis's guidance, sought vengeance against Seth. The bond between Isis and Osiris was so strong that her magic could temporarily bring Osiris back from the dead. Isis and Osiris were not only husband and wife but also powerful and complementary forces in Egyptian mythology, representing life, death, and resurrection.

Between the first and the second depiction of Osiris, a yellow hieroglyphic column is depicted, which states: «Words spoken by Ptah-Sokar-Osiris, foremost of the West, who resides in Shetyt».

SOUTHEAST CHAMBER GATE (F)

This gate is cut into the southeast wall of the corridor and provides access to the left side chamber. The floor is cut slightly higher than that of the preceding corridor. There is a slot cut above the doorway, presumably for the placement of a wooden lintel. The lintel contains an image of a winged sun disk, the jambs have a dedication text of the tomb from the king to his son, and the thicknesses are decorated with images of Horus-Iwnmutef.

Right side

On the right side of the entrance, the god Horus is depicted as an Iunmutef priest.

• Here too, Horus wears the typical leopard skin and his face is turned towards the vestibule.
• In this mural the god Horus raises his right arm as a welcome gesture to the deceased prince.
• Iunmutef embodied several key concepts. He represented the abstraction of the eldest son in the royal cult. As a divine model of a sem-priest, he participated in kingship rituals. Iunmutef also symbolized Horus as a loving son. He played a central role in maintaining the cosmic order.

Left side

On the left side of the entrance, the god Horus is also depicted as an Iunmutef priest.

• 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 this chamber.
• Iunmutef was often depicted as a priest wearing a leopard-skin robe. This attire symbolized royal authority rather than being a typical priestly vestment. Scholars recognize Iunmutef as an aspect of the god Horus. However, the context in which representations of Iunmutef appear suggests that the title "priest" may not be entirely appropriate. Instead of serving the gods, Iunmutef visually represented fundamental notions related to the structure of ancient Egyptian kingship.

SOUTHEAST CHAMBER (G)

This side chamber lies to the southeast of the corridor. The plaster on the walls of this side chamber show signs of cracking, but there are no major losses. Unusually, the prince is shown here interacting with deities directly without his father. He is, however, still shown with the side lock of youth. The major scene in this chamber is located on the southeast wall and consists of a double scene of Osiris seated with Isis adoring him on the right and Nephthys adoring him on the left. The side walls depict the prince offering to various deities.

SOUTHEAST CHAMBER (G). The left side chamber lies to the southeast of the vestibule.

Scene 19

Scene 19 shows the goddess Neith depicted on the right side and the goddess Serket on the left side.

• Both goddesses face the gate of the chamber.
• Neith, the ancient warrior goddess, was revered as the creator of the world, often associated with the primeval waters and the cosmic loom. Neith embodies qualities of war, wisdom, and craftsmanship. She was depicted as a weaver, symbolizing her role in shaping destiny and fate.
• Serket is an ancient Egyptian deity associated with healing venomous stings and bites. She was originally the deification of the scorpion. Her protective aspects extended to guarding against venomous snakes and scorpions. People believed she could shield them from harmful bites and also punish those she disapproved of. Serket played a crucial role in the story of Isis and Horus. When Isis and her infant son Horus were hiding from Set in the marshes of the delta, it was Serket who protected them. She was associated with the seven scorpions who acted as bodyguards for the mother and child.
• Interestingly, Neith and Serket also ensured that Amun and his wife enjoyed peaceful moments together, suggesting Neith's association with marriage and harmony. While Neith's primary attributes differ from Serket's, their combined presence in various contexts highlights their complementary roles in Egyptian mythology. Neith and Serket represent distinct aspects of Egyptian spirituality, yet their interactions reveal an interplay between creation, protection, and cosmic forces.

Scene 20

Scene 20 shows the goddess Isis depicted on the left and the goddess Nephthys on the right.

• Both goddesses face the gate of the chamber.
• Isis is often depicted as a beautiful woman wearing a sheath dress, with either the hieroglyphic sign of the throne or a solar disk and cow's horns on her head. Nephthys, on the other hand, is her sister. They are both daughters of the earth god Geb and the sky goddess Nut. Their sibling circle includes the deities Osiris (Isis's husband) and Seth (Nephthys's husband). Isis was married to Osiris, the king of Egypt. As a devoted queen, she supported her husband and played a crucial role in teaching Egyptian women essential skills such as weaving, baking, and brewing beer. Nephthys, however, had a different fate. She was married to Seth, who was often jealous of Osiris. An ancient Egyptian text called "The Lamentations of Isis and Nephthys" reveals their deep bond. In this poetic composition, the two goddess-sisters call upon the soul of the god Osiris to rejoin the living. Their dual entreaties echo each other as they symbolically attempt to revive the deceased god. Isis and Nephthys are not only sisters but also key players in the mythological narrative surrounding Osiris, life, death, and resurrection.

Scene 21

Scene 21 shows Prince Khaemwaset on the right side and the god Anubis on the left side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset stands with both arms raised in adoration before the god Anubis.
• The god Anubis has the head of a dog.
• Anubis was often portrayed as a man with a jackal head or entirely in the form of a jackal. The choice of a jackal likely stemmed from the scavenging behavior of these animals in cemeteries. His black skin symbolized both death and the fertile black soil of the Nile. Anubis was considered the guardian of graves, ensuring their safety and sanctity. His presence was believed to ward off malevolent forces and protect the resting places of the dead. As the guide, Anubis led souls through the perilous journey to the afterlife. His role was crucial in ensuring that the deceased reached their final destination safely.

Scene 22

Scene 22 shows Prince Khaemwaset on the left side and the god Anubis on the right side.

• The prince faces the interior of the chamber and the god faces the gate of the chamber.
• Prince Khaemwaset stands with both arms raised in adoration before the god Anubis.
• The god Anubis has the head of a dog.
• Anubis played a vital role in overseeing the mummification process. Ancient Egyptians believed that preserving the body allowed the soul (or "ka") to recognize and reunite with it in the afterlife. In ancient history, Anubis was the absolute ruler of the underworld (known as Duat). His responsibility included overseeing the realm of the dead and maintaining order between the worlds of the living and the deceased. Anubis presided over the Guardian of the Scales ritual. In this ceremony, he weighed the heart of the deceased against the feather of truth (Maat). If the heart was lighter than the feather, the soul could ascend to a worthy existence in heaven. Otherwise, it faced consumption by Ammit, the "devourer of the dead."

Details of Scene 22. Head fo Prince Khaemwaset and head of god Anubis. The prince stands with both arms raised in adoration before the god Anubis. Above the raised arms of the prince two hieroglyphic columns are depicted, stating «The sem-priest of Ptah, the great one, (who is) south of his wall, Lord of Memphis, the king's son, Khaemwaset». The god Anubis has the body of a human and the head of a dog. Photographs copyright www.meretsegerbooks.com.

Scene 23

Scene 23 shows, from right to left, Prince Khaemwaset, the Four Sons of the god Horus and the goddess Neith.

• The prince faces the interior of the chamber and the gods face the gate of the chamber.
• Prince Khaemwaset stands with both arms raised in adoration before the gods Imsety, Hapy, Duamutef, Qebehsenuef and the goddess Neith.
• Imsety was associated with protecting the liver of the deceased. His canopic jar often featured a human head. In the Pyramid Texts, Imsety assisted the deceased king by providing a ladder to ascend into the sky. Hapy safeguarded the lungs. His canopic jar was represented by the head of a baboon. In Spell 338, Hapy ensured the deceased did not suffer from hunger or thirst. Duamutef's responsibility was the stomach. His canopic jar featured a jackal head. He played a role in protecting the deceased's well-being during the journey to the afterlife. Qebehsenuef looked after the intestines. His canopic jar had a falcon head. Qebehsenuef assisted the deceased in various ways, including protection from hunger and thirst. These four deities were believed to guide the deceased pharaohs and individuals on their journey through the underworld. Their connection with the canopic jars, which held the preserved organs, ensured the well-being of the soul in the afterlife. Although their worship was primarily within the funerary context, their enduring presence in ancient Egyptian burial equipment attests to their significance.
• Neith was venerated as the goddess of creation and wisdom. Ancient Egyptians believed she played a crucial part in the formation of the world and was revered as the mother of gods like Ra and Sobek. Neith was revered as a funerary deity, ensuring the well-being of the souls of the deceased. She played a crucial role as a just judge, presiding over the fate of departed souls during their afterlife journey. As the goddess who invented weaving, Neith was associated with the mummy bandages. The protective coils of these bandages wrapped around the deceased were considered gifts from Neith, imbuing them with divine power.

Detail of Scene 23. Head of Qebehsenuef. The Four Sons of Horus all stand in the same posture and wear the same tunic, but their faces are different. In front of each son's face, a hieroglyphic column is noting their names. Photograph copyright www.meretsegerbooks.com.

Scene 24

Scene 24 shows, from left to right, Prince Khaemwaset, the Four Sons of Horus and the goddess Serket.

• The prince faces the interior of the chamber and the gods face the gate of the chamber.
• Prince Khaemwaset stands with both arms raised in adoration before the gods Imsety, Hapy, Duamutef, Qebehsenuef and the goddess Serket.
• Imsety is associated with the canopic jar that holds the liver of the deceased during mummification. He is depicted as a human-headed deity. While there are varying myths about his parentage, some sources suggest that Isis (another prominent goddess) is his mother. Duamutef guards the canopic jar containing the stomach of the deceased. He appears as a jackal-headed god. Like Imsety, his parentage is also attributed to Isis in certain myths. Hapi is the protector of the canopic jar that houses the lungs of the deceased. His form is that of a baboon-headed deity. In some accounts, he is considered the son of Horus and Isis. Qebehsenuef safeguards the canopic jar containing the intestines of the dead. He is depicted as a falcon-headed god. Qebehsenuef is generally held to be the son of Serket, the scorpion-headed goddess.
• Serket's name derives from the fact that scorpion stings could paralyze the body, making breathing difficult. She was revered as a protector against venomous creatures and had the power to strike down evil spirits, particularly the snake Apep (or Apophis). During funeral and embalming rituals, Serket watched over the canopic jar housing the intestines. Serket's connection to the four sons of Horus lies primarily through her son, Qebehsenuef, who played a crucial role in protecting the deceased during the mummification process. Serket herself held dominion over fertility, medicine, nature, animals, and magic

Scene 25

Scene 25 shows the goddess Isis on the right side and the god Osiris on the left side.

• The goddess faces the interior of the chamber and the god faces the gate of the chamber.
• The goddess Isis is depicted with her left hand raised as a sign of protection for the seated god Osiris.
• The god Osiris sits on his throne.
• Isis was the daughter of the earth god Geb and the sky goddess Nut. She was also the sister of the deities Osiris, Seth, and Nephthys. Married to Osiris, the king of Egypt, Isis was a queen who supported her husband and taught Egyptian women essential skills like weaving, baking, and brewing beer. Osiris, the god of the afterlife, ruled Egypt. His brother Seth, consumed by jealousy, plotted to kill him. Seth dismembered Osiris's body and scattered the parts across Egypt. Isis, as a devoted wife, embarked on a quest to retrieve Osiris's body. With the help of her sister Nephthys, Isis gathered the dismembered body parts. She meticulously wrapped them like a mummy and invoked her powerful magic. Through her magical abilities, Isis resurrected Osiris, albeit briefly. Osiris, now revived, became the ruler of the land of the dead (the underworld). He granted people life after death, ensuring their journey beyond mortality. Isis's magical intervention not only restored Osiris but also elevated him to a divine status, making him a central figure in Egyptian mythology and the afterlife. Her role exemplifies her power as a mourner, healer, and mother figure for all.

Scene 26

Scene 26 shows the goddess Nephthys on the left side and the god Osiris on the right side.

• The goddess faces the interior of the chamber and the god faces the gate of the chamber.
• The goddess Nephthys is depicted with her right hand raised as a sign of protection for the seated god Osiris.
• The god Osiris sits on his throne.
• Nephthys was born from the union of Geb (earth) and Nut (sky), making her the fourth sibling after Osiris, Isis, and Set. She was also the older sister of Horus. Disguised as Isis, Nephthys seduced Osiris, leading to a union that resulted in the birth of their son, Anubis. This act provided Set, Osiris's brother, with justification for murdering Osiris. Nephthys unwittingly played a part in this tragic event. However, the myth takes a twist, Nephthys later betrayed Set and assisted Isis in her efforts to restore Osiris to life. Nephthys was associated with death, decay, and magic. She was invoked during funeral services and considered skilled in mystical arts. In the city of Heliopolis, Nephthys and Isis were represented by two virgin priestesses during festivals. They recited the Lamentations at the Osiris festival. Her magical abilities mirrored those of Isis, creating a balance between light and darkness. Nephthys's complex role in the Osiris myth reflects both betrayal and redemption, intertwining life, death, and magic.

Detail of Scene 26. Head of left side Osiris and the goddess Nephthys. The god Osiris wears the atef crown. On the left side of the wall, facing the left seated god Osiris, stands the goddess Nephthys. Nephthys wears the red deshret crown of Lower Egypt and a light green dress with a red belt, with two ribbons hanging down. The bottom part of the dress, part of the left arm and the raised right hand of the goddess have been lost. Top photograph copyright www.meretsegerbooks.com and bottom photograph by Onceinawhile, distributed under a CC-BY 4.0 license.

Between the left and the right god Osiris, a yellow hieroglyphic column is depicted with the text: «It is the King of Upper and Lower Egypt, royal Osiris, Lord of the Two Lands, User-Maat-Ra Mery-Amun, son of Ra, Lord of Appearances, Ramesses, Ruler of Heliopolis, true of voice, beloved of Meretseger, mistress of the West.»

GATE (H)

This gate provides access to the burial chamber and lies on axis with the tomb's entrance. It was widened after the construction and decoration of the tomb in order to allow the granite sarcophagusto pass. The jambs were then replastered and carved with relief but not painted. There are post holes in the ceiling on either side of the doorway in the Vestibule C indicating that the doorway was closed with double wooden doors. The lintel is decorated with a winged sun disk and the reveals with a unpainted relief of Isis on the right and Nephthys on the left.

• The gate represents a threshold—a point of transition between different realms. As mourners and visitors move from the vestibule (the outer world) into the burial chamber (the sacred inner space), they cross this symbolic boundary. It marks the passage from the earthly existence to the spiritual realm, where the deceased's spirit continues its journey.
• The gate serves as a protective barrier for the burial chamber. It guards the sacred space where the mummified body and grave goods rest. Symbolically, it shields the deceased from negative forces and ensures their safe passage to the afterlife. The gate may be adorned with inscriptions, spells, or protective symbols to aid the soul's journey.
• Passing through the gate signifies a spiritual transformation. The deceased's ka (spirit) moves from the physical world to the metaphysical realm. It aligns with ancient Egyptian beliefs in continuity beyond death and the soul's eternal existence. The gate is a liminal space where the mundane and divine intersect.
• The gate's design often reflects cosmic symbolism. It may incorporate elements like the sun, stars, or the hieroglyphic representation of doors. These symbols connect the tomb to the broader cosmic order, emphasizing the cyclical nature of life, death, and rebirth.
• The gate separating the vestibule and the burial chamber is more than a physical barrier—it embodies spiritual significance, protection, and the soul's journey into the afterlife.

Right side

On the right side of the inside of this gate almost all paintings have been lost due to the widening of the gate.

• The only thing remaining is part of the head of the goddess Isis.
• The goddess looks towards the entrance of the tomb.
• As the wife of Osiris, the god of the afterlife, Isis held a crucial role in guiding and protecting the souls of the deceased on their journey to the afterlife. Her unwavering devotion to Osiris extended even beyond his death, making her a symbol of peace and solace within the afterlife. In this capacity, she ensured that the departed souls found their way to the realm of the gods, where they could continue their existence. As a protector, she offered solace not only to the gods but also to ordinary people, reinforcing her role as a universal guardian. Isis was often portrayed as a winged goddess in human form, wearing an empty throne over her head. The empty throne hieroglyph was used to write her name, emphasizing her connection to the afterlife and protection. Overall, Isis embodied a powerful blend of magic, wisdom, and maternal care, ensuring the well-being of both the living and the departed.

Left side

Due to the widening of this gate, almost all paintings on the inside of the gate have been lost.

• The only thing remaining is an image of the goddess Nephthys.
• The goddess looks towards the entrance of the tomb.
• Nephthys was considered one of the major deities in funerary rituals. Alongside her sister, Isis, she safeguarded the remains of the deceased. Together, they acted as guardians of the mummy and provided protection to Osiris, the god of the underworld. Her benevolent presence ensured that the departed souls found peace and harmony beyond earthly life. Nephthys balanced the cosmic scales, ensuring that the deceased's heart was not heavy with wrongdoing during the judgment in the Hall of Maat. She guarded the gates leading to the afterlife, allowing the souls to pass into the realm of eternity. Nephthys is often depicted as a supportive character alongside Isis. According to the Pyramid Texts, the two sisters—Nephthys and Isis—assist, protect, and support Osiris during his journey to the afterlife. Nephthys's protective and supportive functions ensured that the souls of the departed found solace and guidance as they transitioned into the mysterious realms beyond mortality.

BURIAL CHAMBER (I)

This corridor served as the burial chamber and lies on axis with the tomb's entrance. The ceiling is vaulted and there are two unfinished side chambers in the southeast and northwest walls. A pit was excavated into the floor as a sarcophagus emplacement. The scenes in this chamber center on the Book of the Dead Spells 145-146 and depict the king, Ramesses III, and the prince passing through the various gates of the underworld. As with the preceding corridor, the king is the dominant figure and interacts with the deities on the prince's behalf. The prince is shown with a side lock of youth. The sarcophagus lid of Khaemwaset was discovered in this chamber and is constructed out of red granite. It is now housed in the Egyptian Museum in Turin.

• «The Hall of Osiris wherein the god dwelt with his princes could only be reached after certain doors, and mansions, and domains, which were guarded by porters in the form of monsters, had been successfully passed through by the deceased; to enable the deceased to go through the seven mansions, and the twenty-one pylons, and the fifteen domains, Chapters CXLIV-CXLVII, CXLIX, and CL were written. These provided the deceased with the names of the beings who were in charge of the doors, and supplied him with the speeches which it was necessary that he should make.» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Introduction CLXXVIII)
• «The idea underlying all such statements is that the man who knows the name of a god could invoke and obtain help from him by calling upon him, and that the hostility of a fiend could be successfully opposed by the repetition of his name. The knowledge of the names of fiends and demons constituted the chief power of the magicians of olden times, and the amulets of the Gnostics which were inscribed with numbers of names of supernatural powers are the practical expression of the belief in the efficacy of the knowledge of names which existed in Egypt from time immemorial.» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Introduction CLXV-CLXVI)

BURIAL CHAMBER (I). This corridor served as the burial chamber and lies on axis with the tomb's entrance. Behind the glass barriers we can see gate 9 and the guardian of gate 9. The guardian of gate 9 is depicted with a stag's head with two black horns. The guardian of gate 9 is holding a blue knife in each hand.

Scene 27

Scene 27, due to the widening of this gate, part of the original murals was lost. The original image of the god Horus-Iunmutef was largely preserved.

• 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 Khaemwaset 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.

Scene 28

Scene 28, due to the widening of this gate, the original wall paintings were completely destroyed. The silhouette of the god Horus-Iunmutef was carved into a thick layer of white plaster.

• The god faces the gate of the chamber.
• The silhouette of the god was never painted.
• 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 Khaemwaset's beauty and guide his journey through the afterlife. Chapters from the Book of the Dead inspired these pictograms.

Scene 29

Scene 29 shows, from right to left, Prince Khaemwaset, Pharaoh Ramesses III, seven hieroglyphic columns, gate 9 and the guardian of gate 9.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Khaemwaset is carrying the behet-fan with both hands.
• Pharaoh Ramesses III is standing with his arms raised.
• The murals and the texts on wall of the burial chamber are taken from chapters 145 and 146 of the Book of the Dead. These two chapters describe the twenty-one gates through which the deceased must pass on his journey into the afterlife. Each of the twenty-one gates is protected by a guardian.
• The seven hieroglyphic columns display the text that must be recited by Ramesses and his son to the guardian of gate 9 in order to pass through.
• The text reads: «"Greetings", says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "9th Gate of the Weary-hearted One. Make way for me! I know (you), I know the name of the god who guards you. 'Lady of strength, She who belongs to the birth of secrets, [with 350 cubits in] her circumference, millions of millions are on her way, Lady who radiates with Upper Egyptian malachite the One who is not (yet), Who lifts the initiated ones, who clothes the weary one with fine linen of her Lord, every day, it is her task to dismember the enemies' is your name. 'Enraged one' is the name of the god who guards you. I was purified with that water with which Anubis was purified after he put the bandages on Osiris. I have been anointed with sefeth-ointment. I am dressed in dark red linen. My Ames sceptre is in my hand like that what is in it for a cat." "Go now, because you are purified."»
• The guardian of gate 9 is depicted with a stag's head with two black horns. He is holding a blue knife in each hand. Above gate 9, hieroglyphs show the name of the guardian of the gate: 'Enraged One'. 'Enraged one' is the English translation of the guardians' name, Dendeni.
• In this scene the pharaoh approaches gate 9 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is the 'Foremost'. The guardian of this gate is 'Fowler'. But the pharaoh was purified with the same water with which Anubis was purified; he was anointed with the sepheth-ointment; he is dressed in dark red linen; he holds the Ames scepter in his hand like a cat; therefore the guard lets him pass because he is purified.
• The text of pylon nine 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 ninth 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. 'Blazing flame of Horus which cannot be extinguished; which having passed is followed by another; which is provided with tongues of flame that project to destroy; irresistible and impassable [by any] by reason of the injury which it doeth', is thy name. There is fear through the might of its roaring. The name of the god who guardeth thee is 'Khu-tchet-f'. I have washed myself in the water wherein the Ram, Lord of Tattu, washed himself thoroughly from one end of his body to the other. I have anointed myself with ant unguent of the divine members, and with ankh unguent, I have arrayed myself in a tunic of fair white linen, and I have with me my sceptre of benen 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, IX)
• 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 ninth 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. 'She who is in the front, the lady of strength, quiet of heart, who giveth birth to her lord; whose girth is three hundred and fifty measures; who sendeth forth rays like the catch stone of the south; who raiseth up the divine form and clotheth the feeble one; who giveth [offerings] to her lord every day', is thy name. The name of the doorkeeper is 'Tchesef'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, IX)

Details of Scene 29. Prince Khaemwaset is on the right side and Pharaoh Ramesses III is on the left side. The head of the guardian of gate 9 is shown. Prince Khaemwaset is carrying the behet-fan with both hands. Pharaoh Ramesses III is standing with his arms raised and wearing a blue khepresh crown. Above the pharaoh's head a sun disk of Behdet is shown. The guardian of gate 9 is depicted with a stag's head with two black horns. Photographs copyright www.meretsegerbooks.com.

Scene 30

Scene 30 shows, from left to right, Prince Khaemwaset, Pharaoh Ramesses III, seven hieroglyphic columns, gate 10 and the guardian of gate 10.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Khaemwaset carries in both hands the colourful behet-fan. The fact that the prince is shown carrying the behet-fan, shows that he has the right to bear the prestigious title of 'Fan-bearer to the Right of the King'. This title implies a very close personal or official relationship with the pharaoh.
• Pharaoh Ramesses is standing with his arms raised.
• The murals and the texts on wall of the burial chamber are taken from chapters 145 and 146 of the Book of the Dead. These two chapters describe the twenty-one gates through which the deceased must pass on his journey into the afterlife. Each of the twenty-one gates is guarded by a genie.
• The texts from chapters 145 and 146 of the Book of the Dead, shown in the seven hieroglyphic columns, must be recited by Ramesses and Khaemwaset to the genie at each gate in order to pass through.
• The text reads: «"Greetings", says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "10th Gate of the Weary-hearted One. Make way for me! I know (you), I know the name of the god who guards you. 'High of door wings, who awakes outcries, whom one greatly respects when one reaches her, who shouts with her loud voice, who terrifies enemies, there is no limit for whom is in her' is your name. 'Great Embracer' is the name of the god who guards you. I was purified with that water with which Isdes was purified when he came in to interrogate Seth in the hidden room. I have been anointed with red oil. I am dressed in red fabric. My Ames sceptre is in my hand like the red (fleshy) stretch of foetuses." "Go now, because you are purified."»
• To the right of the seven hieroglyphic columns, gate 10 and the guardian of gate 10 are shown. He has a human head and holds a green knife in each hand. Above the genie's head, hieroglyphs show the name of the guardian: 'Great Embracer'. 'Great Embracer' is the English translation of the guardians' name, Sekhen-wer.
• In this scene the pharaoh approaches gate 10 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Piercing Of Voice' or 'High Of Double Doors'. The guardian of this gate is 'Great Embracer'. But the pharaoh was purified with the same water with which Isdes was purified; he was anointed with the red oil; he is dressed in red fabric; he holds the Ames scepter in his hand like the red (fleshy) stretch of foetuses; therefore the guard lets him pass because he is purified.
• The text of pylon ten 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 tenth 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. 'Lofty of gates, who raiseth up those who cry (?), who art terrible unto him that would come unto thee,' or as others say, 'She who maketh one to make supplication, by reason of the loudness of her voice; vanquisher of the foe who is not constrained by that which is within her', is thy name. The name of the god who watcheth thee is 'Sekhen-ur'. I have washed myself in the water wherein the god Astes washed himself when he entered in to be an advocate for Set within the hidden chamber. I have anointed myself with teshen unguent, and I have with me a sceptre made of the bone of the bird tesher, having a head like that of a greyhound." [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, X)
• 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 tenth 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. 'Thou who art loud of voice, who raisest up those who cry and who make supplication unto her, whose voice is loud, the terrible one, the lady who is to be feared, who destroyeth not that which is in her', is thy name. The name of the doorkeeper is 'Sekhen-ur'."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, X)

Details of Scene 30. Prince Khaemwaset carries in both hands the colourful behet-fan, depicted in a very detailed way. Gate 10 and the guardian of gate 10 are shown. The fact that the prince is shown carrying the behet-fan, shows that he has the right to bear the prestigious title of Fan-bearer to the Right of the King. This title implies a very close personal or official relationship with the pharaoh. The guardian of gate 10 is wearing a blue wig and a tunic. He has a human head and holds a green knife in each hand. Above the genie's head, hieroglyphs show the name of the guardian: 'Great Embracer'. Photographs copyright www.meretsegerbooks.com.

Scene 31

Scene 31 shows, from right to left, Khaemwaset, Ramesses III, four hieroglyphic columns, gate 11 and the guardian of gate 11.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Prince Khaemwaset is holding in his left hand a khu-fan.
• Ramesses III is standing with his arms raised.
• The four hieroglyphic columns display the text that must be recited by Ramesses and his son to the guardian of gate 11 in order to pass through.
• The text reads: «"Greetings", says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "11th Gate of the Weary-hearted One. Make way for me! I know (you), I know your name, I know the one who is inside you. 'Who cuts repeatedly, who burns the rebels, Nesret of every gate, for whom jubilation is made on the day of hearing evil' is your name. 'Who ignites his brazier' is the name of the god who guards you. You are under the control of the veiler of the Weary one."»
• The guardian of gate 11 has the head of a baboon. The guardian is holding a green knife in each hand. Above the head of the guardian, hieroglyphs show his name: 'Who ignites his brazier'. 'Who ignites his brazier' is the English translation of the guardian's name, Pesuakhuef.
• In this scene the pharaoh approaches gate 11 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Ceaseless In Knifing – Scorcher Of Rebels'. The guardian of this gate is 'Cook Of His Braziers'. The pharaoh declares that the gate is under the control of the veiler of Osiris (the Weary one).
• The text of pylon eleven 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 eleventh 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 being who is within thee. 'She who repeateth slaughters, who burneth up the fiends, the mistress of every pylon, the lady to whom acclamation is made on the day of hearing iniquity' is thy name. Thou halt the judgment of the feeble bandaged one." [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, XI)
• 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 eleventh pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of her who is within thee. 'She who slaughtereth always the burner up of fiends, mistress of the every pylon, the lady to whom acclamation is made on the day of darkness,' is thy name. She hath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XI)

Details of Scene 31. Heads of Prince Khaemwaset and Pharaoh Ramesses III. Ramesses III is wearing an ibes wig and a seshed diadem. Photographs copyright www.meretsegerbooks.com.

Scene 32

Scene 32 shows, from left to right, Prince Khaemwaset, Pharaoh Ramesses III, five hieroglyphic columns, gate 12 and the guardian of gate 12.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Prince Khaemwaset is carrying in his left hand a flabellum and a sceptre and greets with his raised right hand the guardian of gate 12.
• Pharaoh Ramesses is standing with his arms raised.
• The text of the five hieroglyphic columns is taken from chapter 145 of the Book of the Dead and must be recited by Ramesses and Khaemwaset to the genie of gate 12 in order to pass through.
• The text reads: «"Greetings", says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "12th Gate of the Weary-hearted One. Make way for me! I know (you), I know your name, I know the name of the one who is inside you. 'She traverses the Two Lands, who chops off those who come at daybreak, High Mistress of Effectiveness, who hears the voice of her Lord daily' is your name. 'Cat' is the name of the god who guards you. You are under the control of the veiler of the Weary one."»
• To the right of the five hieroglyphic columns, gate 12 and, to the right of the gate, the guardian of gate 12 are depicted. He has a human body, but the head of a cat. Above the genie's head, hieroglyphs show the name of the guardian: 'Cat'. 'Cat' is the English translation of the guardians' name, My or Miu.
• In this scene the pharaoh approaches gate 12 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Invoked By Her Two Lands'. The guardian of this gate is 'Cat'. The pharaoh declares that the gate is under the control of the veiler of Osiris (the Weary one).
• The text of pylon twelve 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 twelfth 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 being who is within thee. 'She who journeyeth about in the two lands; who destroyeth those who come with flashings and with fire, the lady of splendour; who hearkeneth to the word of her lord every day', is thy name. Thou hast the judgment of the feeble bandaged one." [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, XII)
• 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 twelfth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of her who is within thee. 'Thou who invokest thy two lands, who destroyest those who come with flashings and with fire, the lady of splendour, who hearkeneth unto the speech of her lord', is thy name. "She hath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XII)

Details of Scene 32. Prince Khaemwaset and Pharaoh Ramesses III to the left, and the guardian of gate 12 to the right. Prince Khaemwaset is carrying in his left hand a flabellum and a sceptre and greets with his raised right hand the guardian of gate 12. As a headdress, Ramesses III is wearing a white khat with a frontal uraeus. The guardian of gate 12 is wearing a blue wig and holds a blue knife in each hand. He has a human body, but the head of a cat. Photographs copyright www.meretsegerbooks.com.

Scene 33

Scene 33 shows, from right to left, Khaemwaset, Ramesses III, the incomplete chamber (gate 13) and the guardian of gate 13.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Prince Khaemwaset is carrying a sceptre in his left hand and greets the guardian of gate 13 with his raised right hand.
• Pharaoh Ramesses is standing with his arms raised.
• To the left of Ramesses III is the unfinished side chamber. The workers started building the side chamber, but this was never completed.
• Initially, to the left of Ramesses III, five hieroglyphic columns and gate 13 were depicted, but the text of these five hieroglyphic columns and the depiction of gate 13 were destroyed during the building of the chamber.
• Only a small part at the top of the five hieroglyphic columns has survived. From right to left, the remaining text reads: «"Greetings", [says the King, …], I know (you), [I know …], […] their [arms] over her […], [blank] and [is the name] of the god who guards [you. …].»
• To the left of the unfinished chamber, the guardian of gate 13 is shown. The guardian has the head of a greyhound. In his right hand, the guardian is holding a blue knife and in his left hand a green knife. Above the head of the guardian, hieroglyphs show his name: 'Who damages the robber'. 'Who damages the robber' is the English translation of the genie's name, Hedju-away.
• In this scene the pharaoh approaches gate 13 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'She Above Whom Osiris (or: Isis, Ennead) Stretches His Arms'. The guardian of this gate is 'Destroyer Of The Robber'.
• The text of pylon thirteen in chapter CXLV of the Book of the Dead reads like this: «The Osiris Auf-ankh, triumphant, saith:- "Homage to thee, saith Horus, O thou thirteenth 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 being who is within thee. 'When the company of the gods is led along their hands are [raised in] adoration before her face, and the watery abyss shineth with light by reason of those who are therein', is thy name. Thou hast the judgment of the feeble bandaged one." [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, XIII)
• 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 thirteenth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of her who is within thee. 'Osiris bringeth his two hands over her and maketh the god Hapi (i.e., the Nile) to send forth splendour out of his hidden places', is thy name. She hath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XIII)

Detail of Scene 33. Head of the guardian of gate 13. The guardian of gate 13 has the head of a greyhound. Photograph copyright www.meretsegerbooks.com.

Scene 34

Scene 34 shows, from left to right, Khaemwaset, Ramesses III, the incomplete chamber (gate 14) and the guardian of gate 14.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Khaemwaset carries a sceptre in his left hand and greets the guardian of gate 14 with his raised right hand.
• Pharaoh Ramesses is standing with his arms raised.
• The workers started building a side chamber, but it was never completed.
• Initially, to the right of Ramesses III, four hieroglyphic columns and gate 14 were depicted, but the text of these four hieroglyphic columns and the depiction of gate 14 were destroyed during the building of the side chamber.
• Only a small part at the top of the four hieroglyphic columns has survived. From left to right, the remaining text reads: «"Greetings", [says the King, …], I know (you), [I know..], [… ? make …] and [… this who ? …].»
• The guardian of gate 14 in his left hand is holding a blue knife. Above the genie's head, hieroglyphs show the name of the guardian: 'The Protector'. 'The Protector' is the English translation of the guardians' name, Sau-pen.
• In this scene the pharaoh approaches gate 14 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Mistress Of Anger – Dancing On Blood'. The guardian of this gate is 'Screecher'.
• The text of pylon fourteen 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 fourteenth 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 being who is within thee. 'Mighty one of Souls, red of hair, Aakhabit, who cometh forth by night; who destroyeth the Fiends in their created forms which their hands give to the Still-Heart in his hour; the one who cometh and goeth', is thy name. She hath the judgment of the feeble bandaged one." [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, XIV)
• 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 fourteenth pylon of Osiris, saith:- "I have made [my] way. I know you, and I know your name, and I know the name of her who is within thee. 'Lady of might, who danceth on the blood-red ones, who keepeth the festival of Haker on the day of the hearing of faults', is thy name. She hath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XIV)

Details of Scene 34. Heads of Ramesses III and the guardian of gate 14. Ramesses III is wearing a blue khepresh crown. Above the pharaoh's head is shown the two cartouches of Ramesses III. The guardian of gate 14 is wearing a blue wig. Parts of the image of the guardian have been lost: part of the head, the right shoulder, part of the right arm, part of the lower left leg, a large part of the right leg and the right foot. Photographs copyright www.meretsegerbooks.com.

Scene 35

Scene 35 shows, from right to left, Prince Khaemwaset, Pharaoh Ramesses III, seven hieroglyphic columns, gate 15 and the guardian of gate 15.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Prince Khaemwaset is carrying in his left hand a khu-fan and greets the guardian of gate 15 with his raised right hand.
• Ramesses is standing with his arms raised.
• To the left of the pharaoh, five hieroglyphic columns are shown. The five hieroglyphic columns display the text that must be recited by Ramesses and his son to the guardian of gate 15 in order to pass through.
• The text reads: «"Greetings", says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "15th Gate of the Weary-hearted One. Make way for me! I know (you), I know your name, I know the one who is inside you. 'Great one of Ba-souls, who is red of hair, lamenting one, who goes forth at night, who removes the rebel from his form, who gives her arms to the Weary-hearted one in her moment of coming and going' is your name. 'Watchful of face who comes forth from the Duat' is the name of the god who guards you. I am under the control of the veiler of the Weary one."»
• The guardian's head is black and is holding a green knife in each hand. Above the guardian's head, hieroglyphs show his name: 'Watchful of face who comes forth from the Duat'. 'Watchful of face who comes forth from the Duat' is the English translation of the guardian's name, Nehes-her-per-em-duat.
• In this scene the pharaoh approaches gate 15 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Great Of Valour'. The guardian of this gate is 'Vigilant Of Face'. The pharaoh declares that he is under the control of the veiler of Osiris (the Weary one).
• The text of pylon fifteen 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 fifteenth 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 being who is within thee. 'Lady of valour, destroyer of the ruddy ones, who celebrateth the Haker festivals (?) [when] the fire is extinguished on the day of hearing [cases of] iniquity', is thy name. She hath the judgment of the feeble bandaged one." [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, XV)
• 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 fifteenth pylon. The Osiris Heru-em-khebit, triumphant, saith when he cometh to this pylon:- "'The Fiend, red of hair and eyes, who cometh forth by night, and doth fetter the fiend in his lair; may her hands be given to the Still-Heart in his hour, and may [she] advance and go forward', [is thy name]. She hath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XV)

Detail of Scene 35. Head of Ramesses III. Pharaoh Ramesses III is wearing the nemes headdress. Photograph copyright www.meretsegerbooks.com.

Scene 36

Scene 36 shows, from left to right, are depicted Prince Khaemwaset, Ramesses III, four hieroglyphic columns, gate 16 and the guardian of gate 16.

• The prince and the pharaoh face the interior of the tomb and the guardian faces the entrance of the tomb.
• Khaemwaset is carrying in his left hand a khu-fan and greets the guardian of gate 16 with his raised right hand. This is the last appearance of the prince as a human being in his tomb. The next appearance, in the Room of Rebirth, will be in the form of the god Herymaat.
• Ramesses is standing with his arms raised.
• The text of the five hieroglyphic columns is taken from chapter 145 of the Book of the Dead and must be recited by Ramesses and Khaemwaset to the genie of gate 16 in order to pass through.
• The text reads: «["Greetings",] says the King, User-Maat-Ra Mery-Amun, the son of Ra, Ramesses, Ruler of Heliopolis, "16th Gate of the Weary-hearted One. Make way for me! I know (you), I know your name, I know the one who is inside you. 'She who belongs to Terror, who throws fire, who sprinkles sparks with her flames when she goes out, who creates secrets' is your name. 'He who bows to the One who provokes weariness to those who go forth to death' is the name of the god who guards you. You are under the control of the veiler of the Weary one.»
• The guardian of gate 16 has the head of a vulture and two green feathers on his head. The guardian carries a blue knife in each hand. Above the genie's head, hieroglyphs show the name of the guardian: 'He who bows to the One who provokes weariness to those who go forth to death'. 'He who bows to the One who provokes weariness to those who go forth to death' is the English translation of the guardian's name, Diu-kesu-uden-bega-per-em-Mut.
• In this scene the pharaoh approaches gate 16 of Osiris (the 'Weary-hearted One'). The goddess who guards this gate is 'Dread'. The guardian of this gate is 'Clever In Bowing'. The pharaoh declares that the gate is under the control of the veiler of Osiris (the Weary one).
• The text of pylon sixteen 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 sixteenth 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 being who is within thee. 'Lady of victory, whose hand goeth after the Fiends, who burneth with flames of fire when she cometh forth, creator of the mysteries of the earth', is thy name. She hath the judgment of the feeble bandaged one." [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, XVI)
• 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 sixteenth pylon. The Osiris Heru-em-khebit, triumphant, saith when he cometh forth to this pylon:- "'Terrible one, the lady of the rain-storm, who planteth ruin (?) in the souls of men, the devourer of the dead bodies of mankind, the orderer, and producer, and creator of slaughter', [is thy name]. She bath the judgment of the feeble bandaged one."» (E. A. Wallis Budge, The Book of the Dead, The Chapters of Coming Forth by Day, Chapter CXLVI, XVI)

GATE (J)

This gate provides access to the Room of Rebirth and is on axis with the tomb's entrance. The lintel contains a winged sun disk, the reveals are decorated with the titles of Rameses III, and the thicknesses have brightly colored Djed-pillars.

• It is during the crossing of this gate that the prince Khaemwaset transforms into the god Herymaat.

Left side

On the left-hand side of this gate a djed pillar is depicted. Above the djed pillar the two feathers crown is depicted.

• The djed is a pillar-like symbol that represents stability and endurance. Imagine it as the backbone of cosmic order.
• In the myth of Osiris, he was treacherously killed by Set and placed in a coffin. The coffin drifted to Byblos, where a tree grew around it. The king of Byblos unknowingly used this tree as a palace pillar. When Isis discovered the coffin, she consecrated the pillar, anointing it with myrrh and linen. This pillar became known as the djed.

Right side

On the right-hand side of this pilar another djed pillar is depicted. Above the djed pillar, the two feathers crown is shown, just as above the djed pillar on the left-hand side.

• The djed may have initially been a fertility-related pillar made from reeds or sheaves. Initially linked to the falcon god Seker, the djed later became associated with Ptah, the patron god of craftsmen.
• Some scholars propose that symbols like the ankh, djed, and was have a biological basis derived from ancient cattle culture. This links to the Egyptian belief that semen originated in the spine.

Detail of Gate (J). The winged disk of Behdet is depicted on the lintel. 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.

WEST CHAMBER (K)

This chamber lies on axis with the tomb's entrance and has been termed the 'Room of Rebirth' due to the nature of the iconography. The scenes center on the king offering to various deities associated with solarization and rebirth. He does so on behalf of the prince who is not depicted in this chamber. The main scene is depicted on the southwest wall and consists of a double scene of the king in adoration before Osiris, accompanied by Isis and Neith on the left and Nephthys and Serqet on the right.

• All the walls of the tomb chambers are painted white with the exception of this chamber whose walls are painted yellow.
• In ancient Egyptian, white represented purity and omnipotence. Many sacred animals, such as hippos, oxen, and cows, were depicted as white. Additionally, white clothing was worn during religious rituals, and to "wear white sandals" was a sign of being a priest. The color white held significant symbolism in ancient Egyptian culture, signifying both the sacred and the everyday aspects of life. Priests, temple attendants, and temple personnel participating in festivals or rituals would often wear white attire. It was associated with cleanliness, simplicity, and holiness.
• Yellow, known as "khenet" or "kenit," symbolized that which was eternal and indestructible. It was closely associated with gold (referred to as "nebu" or "nebw") and the sun. The radiant yellow-gold color depicted the precious attributes of gods and divine beings. Ancient Egyptian artists often used yellow to depict the sun itself. Gods were portrayed with bodies in shiny yellow-gold hues, emphasizing their divine nature. Additionally, yellow was associated with gold, a substance believed to form the skin of the gods. Many statues of deities were either made of gold or covered with gold leaf.

Gate (J) and West Chamber (K). This gate provides access to a rear chamber and is on axis with the tomb's entrance. In the background we can see the West Chamber (K) This chamber has been termed the 'Room of Rebirth' due to the nature of the iconography.

Scene 37

Scene 37 shows the genie Nebneryu on the right and the god Herymaat on the left.

• Both are facing the gate of this chamber.
• 'Lord of Fear' is the English translation of the genie's name, Nebneryu. The genie Nebneryu has the shape of a human and the head of a lion. His left arm is hanging down and in his left hand he is holding a knife to protect Herymaat. His right arm, on the other hand, is held almost horizontally; it is fully extended with fingers outstretched and points in the direction of the gate.
• To the left of Nebneryu, the god Herymaat is shown. 'Who is upon Maat' is the English translation of the god's name, Herymaat. Herymaat has the appearance of a young man and is sitting on a cushion with his legs pulled up to his chest.
• Nebneryu and Herymaat are depicted on top of a building, which symbolizes Khaemwaset's tomb.
• The name Herymaat translates to "Foremost of Maat" or "Who is upon Maat." Maat represents the concept of truth, justice, and cosmic order in Egyptian belief. His usual portrayal involves being naked and seated, with a finger placed to his mouth. The gesture of the finger to the mouth signifies silence, emphasizing the importance of truth and order. Herymaat is often considered a solarized form of the deceased, connecting him to the afterlife and cosmic balance.
• In the tomb of Khaemwaset, specifically on West Chamber wall 25, Herymaat is depicted alongside the genie Nebneryu. Nebneryu, whose name translates to "Lord of Fear," stands on the right side of the scene. He has a human body with the head of a lion and holds a knife to protect Herymaat. Herymaat, on the left side, appears as a young man wearing a white khat headdress. He is seated on a cushion with his legs pulled up to his chest. The hieroglyphic inscriptions above their heads emphasize their roles: Nebneryu as the protector and Herymaat as the one who upholds Maat.
• Together, Nebneryu and Herymaat represent a balance between protection and truth. Their presence in the tomb symbolizes the deceased's journey toward the afterlife, guided by both vigilance and adherence to cosmic order.

Detail of Scene 37. The god Herymaat is shown. Herymaat has the appearance of a young man, wears a white khat headdress and is sitting on a cushion with his legs pulled up to his chest. A hieroglyphic column is depicted above the head of Herymaat, stating 'The great god, who is upon Maat'. Nebneryu and Herymaat are depicted on top of a building, which symbolizes Khaemwaset's tomb. Herymaat is often considered a solarized form of the deceased, connecting him to the afterlife and cosmic balance. Photograph copyright www.meretsegerbooks.com.

Scene 38

Scene 38 shows the god Anubis on the upper part of the wall and a lion on the lower part of the wall.

• Both are facing the gate of the chamber.
• On the upper part of the wall, the god Anubis is lying on a building. Anubis is depicted in the shape of a black dog.
• The building symbolizes Khaemwaset's tomb.
• On the lower part of the wall, a lion is lying on top of a building.
• Anubis is a jackal-headed god associated with mummification, the afterlife, and protection of the deceased. When depicted lying on a tomb, Anubis embodies several meanings. Anubis protected tombs and guided souls to the afterlife. He oversaw the mummification process, ensuring proper preservation. As a psychopomp, Anubis led souls through the underworld, weighing their hearts against the feather of Maat during the judgment. The jackal's keen senses represented vigilance over the mysteries of death and rebirth.
• The lion was associated with the god Aker, who guarded the gateway to the netherworld. Each day, the sun was believed to be born in the morning and died in the evening on the horizon. As such, the lion represented both death and rebirth. The ancient Egyptians believed that lions were incarnations of powerful gods. The lion's presence near tombs symbolized both danger and protection. A lion lying on a tomb represented its role as a guardian, its connection to the netherworld, and its significance in the cycle of life and death.

Detail of Scene 38. A lion is lying on top of a building. The building symbolizes Khaemwaset's tomb. A lion lying on a tomb represented its role as a guardian, its connection to the netherworld, and its significance in the cycle of life and death. Photograph copyright www.meretsegerbooks.com.

Scene 39

Scene 39 shows Pharaoh Ramesses III on the right side and the god Horus-Khenty-Khety on the left side.

• The pharaoh faces the interior of the tomb and the god faces the gate of the chamber.
• Ramesses III is holding an incense burner in his left hand and he is holding a yellow vase in his right hand, with which he pours a libation.
• The god Horus-Khenty-Khety has the appearance of a man with the head of a falcon.
• Initially, Khenti-kheti was revered as the crocodile god of the region called Athribis in Lower Egypt. His association with the crocodile deity Sebek led to him being known as "The Owner of Athribis." However, during the New Kingdom, Khenti-kheti underwent a transformation. He became related to Horus and took on the form of a hawk. At this time, he was known as Horus Khenti-Kheti. His name, Khenti-kheti, translates to "foremost retreater." Perhaps this reflects his dual nature as both a crocodile and a falcon deity. Horus Khenti-Kheti was revered as a protector. His dual nature symbolized both water (as a crocodile) and sky (as a hawk). As a guardian, he offered protection to the pharaoh and the kingdom. His watchful eye ensured safety and stability. Khenti-kheti's role extended beyond physical protection. He guided the pharaohs, especially during challenging times. His wisdom helped the rulers make wise decisions, navigate political complexities, and maintain cosmic balance. By invoking Khenti-Kheti, the pharaohs aligned themselves with both the Nile's life-giving waters (crocodile aspect) and the limitless sky (hawk aspect). This unity reinforced their role as mediators between the earthly and divine realms.

Details of Scene 39. Heads of Pharaoh Ramesses III and the god Horus-Khenty-Khety. Ramesses III is wearing a blue khepresh. The god Horus-Khenty-Khety has the appearance of a man with the head of a falcon. He is wearing a blue tripartite wig. A large red disk is depicted above the head of Horus- Khenty-Khety. The upward-facing head of a uraeus can be seen to the right of the red disk, while the body of the snake is wrapped around the top of the red disk, with the tail hanging down to the left of the red disk. Photographs copyright www.meretsegerbooks.com.

Scene 40

Scene 40 shows Ramesses III on the left side and the god Thoth on the right side.

• The pharaoh faces the interior of the tomb and the god faces the gate of the chamber.
• The pharaoh offers two bowls of wine to Thoth.
• The god Thoth has the head of an ibis.
• Thoth was venerated as the god of the moon, knowledge, writing (hieroglyphs), and languages. Thoth was married to Maat, the goddess of law and order. During the judgment of souls, they stood side by side. Thoth framed Maat's 42 Principles, ensuring cosmic harmony and adherence to divine laws. Thoth's wisdom extended beyond earthly matters. He ensured that gods adhered to principles, preventing chaos. As a counselor, he influenced divine decisions and maintained cosmic balance.

Scene 41

Scene 41 shows Pharaoh Ramesses III on the right side and the god Shepsi on the left side.

• The pharaoh faces the interior of the tomb and the god faces the gate of the chamber.
• Ramesses is holding a green incense burner in his left hand and a yellow vase in his right, with which he pours a libation.
• The god Shepsi has the appearance of a human being.
• Shepsi is associated with the moon. The moon's phases represented cycles of renewal, growth, and transformation. As a lunar god, Shepsi embodied these cosmic rhythms. Shepsi's lunar symbolism aligned with the pharaoh's role in maintaining cosmic balance. Just as the moon waxes and wanes, the pharaoh ensured harmony between the gods, the people, and the natural world. Shepsi provided guidance to the pharaohs during their rule. His light illuminated their path, aiding in decision-making and governance.

Detail of Scene 41. The god Shepsi is shown on the right side of the foto. The god Shepsi has the appearance of a human being. He is wearing a short blue wig, held in place by a golden headband. In his left hand he carries a was sceptre and in his right hand an ankh. A yellow disk and a yellow crescent moon are depicted above the god's head. Photograph copyright www.meretsegerbooks.com.

Scene 42

Scene 42 shows Ramesses III on the left side and the god Harsiesis on the right side.

• The pharaoh faces the interior of the tomb and the god faces the gate of the chamber.
• The pharaoh is raising his right hand in homage to the god Harsiesis.
• The god Harsiesis has the head of a hawk. Harsiesis means 'Horus, the son of Isis'.
• Horus appeared as a local god in many places and under different names and epithets: for instance, as Harmakhis (Har-em-akhet, "Horus in the Horizon"); Harpocrates (Har-pe-khrad, "Horus the Child"); Harsiesis (Har-si-Ese, "Horus Son of Isis"); Harakhte ("Horus of the Horizon" closely associated with the sun god Re); and, at Kawm Umbu (Kom Ombo), as Haroeris (Harwer, "Horus the Elder"). Horus was later identified by the Greeks with Apollo. As Harsiesis, he is "Horus, the son of Isis". Horus was conceived magically by Isis following the murder of his father, Osiris. Horus was raised by his mother on the floating island of Chemmis near Buto. He was in constant danger from his evil uncle Seth but his mother protected him and he survived.

Scene 43

Scene 43 shows, from right to left, Pharaoh Ramesses III, the goddess Serket, the goddess Nephthys, three lotuses and the god Osiris.

• The pharaoh and the goddesses face the interior of the tomb, the god faces the gate of the chamber.
• Ramesses III stands with his arms raised as a sign of worship.
• The goddess Serket has green skin. With her raised left arm she greets the god Osiris.
• The goddess Nephthys, just like the goddess Serket, has green skin and greets the god Osiris with her raised left arm.
• To the right of and below the toes of the seated god Osiris, three red-brown lotus stems emerge, growing upwards. A bi-colored lotus leaf is depicted on the top of the left and right lotus stems, while the Four Sons of Horus are depicted on the top of the lotus flower on the middle stem. From right to left the Sons have the head of a human, the head of a baboon, the head of a dog and the head of a falcon.
• The god Osiris is sitting on his throne. He has green skin. To the right of the atef crown of the god Osiris on the right-hand side are two hieroglyphic columns, stating 'Words spoken by Osiris, foremost of the West, the great god, Lord of eternity and perpetuity'.
• Serket was revered as the goddess who guarded against venomous stings and bites. Her protective role extended to the deceased during their journey through the afterlife. Serket's association with healing made her a crucial figure in the embalming process. Priests invoked her blessings to ensure the preservation of the body. Her presence was believed to safeguard the deceased from harmful forces.
• Nephthys played a vital role in mourning rituals. She wept for the deceased and assisted in the grieving process. Nephthys was often depicted alongside her sister, Isis, as protectors of the mummy. While Isis represented life and resurrection, Nephthys symbolized death and the transition to the afterlife.
• Osiris presided over the judgment of souls in the Hall of Maat. He weighed the hearts of the deceased against the feather of truth. If the heart was pure, the soul could proceed to eternal life.

Details of Scene 43. The Pharaoh Ramesses III is on the right side of the scene (left side of the top photo). The goddess Serket, in the bottom photo, is at his left. Ramesses wears the red deshret crown of Lower Egypt and stands with his arms raised as a sign of worship. The goddess Serket has green skin and is wearing a blue tripartite wig and a white dress. The ideogram of the goddess Serket's name is shown on top of her head. With her raised left arm she greets the god Osiris, who is sitting on his throne. Photographs copyright www.meretsegerbooks.com.

Scene 44

Scene 44 shows, from left to right, Ramesses III, the goddess Isis, the goddess Neith, a lotus flower and the god Osiris.

• The pharaoh and the goddesses face the interior of the tomb, the god faces the gate of the chamber.
• Ramesses III stands with his arms raised as a sign of worship.
• The goddess Isis greets the god Osiris with her raised right arm.
• The goddess Neith has green skin. With her raised right arm she greets the god Osiris.
• While the Four Sons of Horus on the lotus next to the right-hand god Osiris have human or animal heads, the Four Sons next to the left-hand Osiris all have identical human shape.
• The god Osiris is sitting on his throne. He has green skin. To the left of the atef crown of the god Osiris on the left-hand side are two hieroglyphic columns with the text: 'Words spoken by Osiris, foremost of the divine booth, the great god, Lord of the West'.
• Isis, as a mourner, wept for the departed and ensured their safe passage to the afterlife. As a healer, Isis possessed extraordinary powers. She cured the sick and even brought the deceased back to life. Her magic transcended that of other deities.
• Neith watched over the deceased alongside Isis, Serket, and Nephthys.
• Osiris's own resurrection after being murdered by his brother, Set, became a powerful symbol for the deceased. It represented the hope of renewal and eternal life. Osiris was the divine king, and his rule exemplified cosmic order (maat). The deceased aspired to join him in the afterlife, becoming part of this divine order.

Details of Scene 44. Heads of the left god Osiris, the goddess Neith and Ramesses III. The god Osiris wears an atef crown. The goddess Neith has green skin and is wearing a blue tripartite wig. The ideogram of the goddess Neith's name is shown on top of her head. 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. Photographs copyright www.meretsegerbooks.com.

Between the left and the right god Osiris, a white hieroglyphic column is depicted with the text: «It is the King of Upper and Lower Egypt, royal Osiris, Lord of the Two Lands, User-Maat-Ra Mery-Amun, son of Ra, Lord of Appearances, Ramesses, Ruler of Heliopolis, true of voice, beloved of Osiris, foremost of the West».

Scene 43 (right) and scene 44 (left). Behind the glass barriers we can see scene 43 (right) and scene 44 (left). The wall shows, from right to left, the goddess Serket, the goddess Nephthys, three lotuses, two gods Osiris, a lotus flower, the goddess Neith and the goddess Isis.

Scene 43. Behind the glass barriers we can see scene 43. Nephthys has green skin and greets the god Osiris with her raised left arm. She is wearing a blue tripartite wig, but her dress has a red color. The ideogram of the goddess Nephthys is shown on top of her head.

Scene 44. Behind the glass barriers we can see scene 44. The goddess Neith has green skin and is wearing a blue tripartite wig and a red dress. The ideogram of the goddess Neith's name is shown on top of her head. With her raised right arm she greets the god Osiris, who is sitting on his throne.

See also

• Xxxx

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Sources

• Khaemwaset (20th dynasty)- Wikipedia
• QV44 - Wikipedia
• Gate deities of the underworld - Wikipedia
• QV44 Prince Khaemwaset - Theban Mapping Project
• Tomb Khaemwaset (G)aspard Van Haver

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Location