This is the longest decorated wall in the chapel; in its central part, there are two symmetrical representations of Merefnebef in the attire of a lector priest. He is accompanied by a small figure of his mother, lady Tjezet (37).
On the left side, there are two more figures of the vizier (38-39), depicted in a similarly large scale and in a festive garb, accompanied by two of his spouses, Nebet i Zeshzeshet. In front of them, another set of butchering scenes was introduced (40). Preparing meat for the funerary offerings was extremely important for the dignitary, who wanted to ensure the supply of provisions in his afterlife. This could be a very reason for a number of such scenes represented in the decoration of the chapel. This repeatability might be wearisome not only to us; one of the butchers is fed up with the work and says to his colleague: “Cut well, comrade! I’m tired.”
To the right of the double image of the vizier where he appears with his mother, the apparent monotony of the wall is interrupted by a teeming-with-life scene of Merefnebef and his family and servants, enjoying hunting in papyrus thicket (41). The dignitary, dressed in a short, comfortable kilt, stands firmly in a reed boat, and aims with a throwing-stick at startled birds. Family members – his wives Metjut and Zeshzeshet, and his son Manefer – are gathered at his legs. In accordance with the rules of Egyptian art, they are depicted in a much smaller scale, reflecting their lower social status. Before the boat, there is a papyrus thicket, containing the abundance of the Egyptian fauna. The birds can be seen protecting eggs in their nests; nestlings are an easy prey for the mangoose and genet, while terrified parents try to scare the predators off. Flattering above them, fabulously colourful butterflies are oblivious of these dangers and dramas.
Below this scene and in the lowermost band of decoration, offering bearers are represented (42-43). Of particular interest is the row of women carrying large baskets on their heads (43); according to the inscriptions in front of them, they are personifications of the vizier’s estates that were to provide offerings for his posthumous cult.
A relatively narrow panel at the right end of the wall differs from the rest of the decoration, both in colours and in the style of the relief. The inscriptions say that the name of the official depicted here is Merefnebef; apparently, however, he is not the vizier, but one of his sons, who inherited the name from his father. In the upper scene, Merefnebef Junior and his wife are sitted in a pavilion (44), where they receive gifts brought by their servants and watch the pool where other servants are busy fishing.
People represented in three registers below (45) work at a brewery, making beer, which was a staple drink in the ancient Egyptian diet.