This wall provides an example of the frequent representation of the worship of Aten by the royal family (view 40). The wall has suffered greatly at the top through exposure and, as can be seen, by damage caused by plunderers in antiquity.
The king and queen (who was wearing the atef-crown) are followed by the three princesses. Still distinguishable in the upper register is the queen's sister, princess Mutnedjemet (or Mutbeneret, depending on the reading of the vertical sign, 'ndm' or 'bnr'), accompanied by her two dwarfs and courtiers.
The dwarfs, who can also be found with her on the west wall of the tomb, have names which, according to Norman of Garis Davies, may have been chosen in jest : the first, a woman according to the determinative of the name, is designated as "the vizier of the queen, Erneheh", the second, a man, is "the vizier of his mother, Para".
The lower part of the wall is occupied by a long prayer, at bottom-right of which are the kneeling figures of Ay and Tiy. The text once more combines the praises to Aten, in a style suitable for the Great Hymn, along with praise of the deceased, which aims to confer on them the benevolence of the god (view 8 and view 9 and view 21. See also pl 25 for full hieroglyphs).
"When he rises in the sky, he rejoices at his son; he embraces him with his rays; he gives him eternity as king like the Aten, Neferkheperure Waenre, my god who made me and who brought into being my ka. [… …] The divine father, the standard bearer at the right-hand of the king, chief of all of the cavalry of his Majesty, true scribe of the king, whom he loves, Ay, said : 'I was faithful towards the king …' ".
The king and queen (who was wearing the atef-crown) are followed by the three princesses. Still distinguishable in the upper register is the queen's sister, princess Mutnedjemet (or Mutbeneret, depending on the reading of the vertical sign, 'ndm' or 'bnr'), accompanied by her two dwarfs and courtiers.
The dwarfs, who can also be found with her on the west wall of the tomb, have names which, according to Norman of Garis Davies, may have been chosen in jest : the first, a woman according to the determinative of the name, is designated as "the vizier of the queen, Erneheh", the second, a man, is "the vizier of his mother, Para".
The lower part of the wall is occupied by a long prayer, at bottom-right of which are the kneeling figures of Ay and Tiy. The text once more combines the praises to Aten, in a style suitable for the Great Hymn, along with praise of the deceased, which aims to confer on them the benevolence of the god (view 8 and view 9 and view 21. See also pl 25 for full hieroglyphs).
"When he rises in the sky, he rejoices at his son; he embraces him with his rays; he gives him eternity as king like the Aten, Neferkheperure Waenre, my god who made me and who brought into being my ka. [… …] The divine father, the standard bearer at the right-hand of the king, chief of all of the cavalry of his Majesty, true scribe of the king, whom he loves, Ay, said : 'I was faithful towards the king …' ".
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