The burial chamber contained over 400 items including carefully arranged stools and beds, neatly stacked storage chests of personal belongings, clothing and tools, tables piled with foods such as bread, meats and fruit, and the couple's two large wooden sarcophagi housing their coffined mummies.

[43] It is an early example of the pyramid form at Deir el-Medina,[44] derived from the tombs of contemporary nobility;[45] this shape became typical in the workmen's village in later dynasties.

The vault is bordered on each side by another band of text and an upper frieze of alternating lotus flowers, buds, and grapes separates the inscriptions from the wall scenes proper.

The large scene depicts the god Osiris seated in a raised kiosk (canopy supported by columns); he receives offerings from Kha and Merit, who are accompanied by their children.

[70] Ernesto Schiaparelli briefly described the chapel in his 1927 publication of the burial chamber; a full study of the decoration was made in the 1930s by Jeanne Marie Thérèse Vandier d'Abbadie during the IFAO's excavations of the village.

The image of Amun, hacked out during Akhenaten's reign, was restored, and the name and titles of Inherkau's wife Henutdjuu were added in ink instead of being cut into the stone.

In February 1906, after clearing debris along two-thirds of the valley's length, they encountered an area of clean white limestone chip 25 metres (82 ft) north of Kha and Merit's chapel.

The excavators suspected the burial was unrobbed as the blocking showed no evidence of resealing; a hole was made to admit the foreman Khalifa who confirmed the tomb beyond was unviolated.

[79][80] At the end of passage was a locked wooden door which Weigall recalled "seemed so modern that Professor Schiaparelli called to his servant for the key, who quite seriously replied 'I don't know where it is, sir.

The excavators were struck by how fresh and undecayed the contents looked after three millennia; Weigall in particular commented that, from the state of the items, the tomb seemed to have been closed only months before.

[f] In his 1928 review of the publication for the Journal of Egyptian Archaeology, Egyptologist Henry Hall praised the large volume for its readability and inclusion of many photographs of the artefacts, but also characterised it as "not scientifically precise".

He criticised its lack of detail expected for an Egyptological publication, such as the absence of scale bars in the photos, no or poor reproduction of the hieroglyphic text, and no inventory listing all the objects.

In her 2010 book on the tomb, then-director of Museo Egizio Eleni Vassilika calls Schiaparelli's treatment "uneven" and criticises the narrative's many tangents and mistakes.

[102] These included work tools such as a rare folding wooden cubit rod (in its own leather pouch),[103] scribal palettes, a drill, chisel, an adze, and a possible level.

[101][104] Other objects belonging to Kha were distributed around the tomb, such as four sticks (two with decorative bark inlay), and a traveling mat, folded on a net of doum palm nuts.

A cubit rod covered entirely in gold leaf and bearing the cartouches of Amenhotep II was an award from that king, although Kha's name does not appear on it.

[106] A large metal situla bears the name and titles of Userhat, a priest of the royal funerary cults of Mutnofret, a wife of Thutmose I, and Sitamun, in this case most likely referring to the daughter of Ahmose I.

[112] Egyptologist Lynn Meskell considers this difference in the quantity of items to be a reflection of the inequality between the sexes at the elite level of ancient Egyptian society.

As no fixative such as resin is present on the wig, it is suggested it was styled by braiding when wet, and that the oils mentioned by Schiaparelli were meant to keep the hair soft.

A single small table had more elaborate construction, being made of wooden slats in imitation of canework; it held Kha's senet box when found, which may have been its usual purpose.

Vegetable dishes consisted of minced and seasoned greens in bowls and jars accompanied by bundles of garlic and onions, and baskets of cumin seeds.

The coffin has vertical and horizontal bands of text whose positions, at centre front and sides, bicep, hip, knee, and ankle, are similar to those of the plain fabric bindings on mummy wrappings.

The outer coffin has a black-based design, with the striped wig, face and hands, collar, bands of text and figures of gods picked out in gilding; the eyes are inlaid in coloured glass.

[158][159] Her coffin is of lesser quality than Kha's and is less costly;[160] the sculpting of the face is rougher, the figures of deities are roughly rendered, and the text is incised instead of being modelled in plaster.

In her 2019 study of the document, the Egyptologist Susanne Töpfer suggested that the papyrus may have been commissioned for someone else, as there is an instance where a name has been erased and overwritten, and the attire of the god Osiris was changed from a feathered shroud to a plain white one.

[198] The rectangular base is inscribed with an offering formula ensuring Kha received the standard bread, beer, ox and fowl with the additional alabaster, linen, wine, and milk.

[199] There are occasional examples of such figures from other contemporary non-noble Theban tombs; their inclusion may have been more common than these finds suggest, as many unprovenanced statuettes are known from museum collections.

These figures are generally absent from contemporary elite (robbed) burials, possibly indicating they were made of valuable metal and looted by ancient robbers.

[203] The Egyptian Museum in Cairo retained only a few objects from the tomb, keeping one of the two lamp stands, loaves of bread, three blocks of salt, and nineteen pottery vases.

[187] The objects were displayed within a single small room, refurbished in the 1960s, which then-museum director Silvio Curto said gave visitors "a good idea of the place at the moment of discovery".