Scene D is mostly iconography with small amounts of text. It consists of the king offering heaping piles of food to several gods in a shrine. The god at the back of the shrine is Nefertum. On the opposite wall the same position is occupied by Sekhmet (Scene F). Probably this reflected the real arrangement of statues in the chapel. The back wall also had these same deities in the same positions, and one can infer that the focus of the chapel was on side-by-side statues of Sekhmet and Nefertum, with Nefertum on the right and Sekhmet on the left.

In both cases, there is also a statue of the king as a sphinx interacting with the the deity. In the case of Scene F, he is presenting the Hen-emblem (an object containing the deed to the temple built by the king) to Sekhmet, and, probably in return for such, on this scene, he is receiving the flail from Nefertum.

Nefertum also holds a sound-eye emblem to his breast. It is possible that this is the Horus-Eye offering with which the king has just presented him, or it might indicate a special iconographic relationship between Nefertum and the moon. Gods frequently shown holding the Horus-Eye are Thoth, and Aah (both moon gods). Other lunar associations in this chapel will be noted. Notice that in scene E1, Nefertum also holds the sound-eye to his breast.

Take note of the lotus standard in its own smaller shrine right behind the sphinx. Having examined the original relief, I know Mariette's drawing to be incorrect. There is a crescent moon atop the lotus of the emblem and above that is a large hole in the wall so one cannot tell whether the full moon's disk might not have sat upon this. More than likely some lines of text are lost at this point too. I have also been allowed to examine Calverly and Broome's unpublished watercolor of this scene, and can confirm that the crescent is actually there. My forthcoming article in YES 5 will have a line-drawing from a photo of the actual scene. The top of the shrine is not visible at all but is apparently here reconstructed by Mariette's artist's imagination.

The lunar motifs on the emblem probably also relate to the epithet used for Thoth, who is enthroned in front of the emblem, in line 5 ("bearing his brilliance"). Previous scholars have translated this phrase as "beneath his moringa-tree" but this makes little sense. Since Thoth is a deity associated with the moon, one can easily expect an epithet such as the one I have proposed. All of the deities represented in this scene are statuary and not supposed to be actual manifestations of the deities in their flesh. You can tell this because each one of them is represented as standing or seated upon a pedestal. Only the King is represented as actually present in the room since he kneels directly on the floor. Notice also that among the statuary depicted in the chapel scenes there are often small statuettes of the king making offerings before the images. For instance look at the very bottom right-hand corner of the shrine in this scene. Also notice the two statuettes at the base of the Nefertum-emblem in the middle of the shrine.

D. North Wall, Upper Register, Left End

The falcon-headed mummy standing at the front of the shrine:
1) zkr Hr.y-jb Hw.t-nfr-tmw dj=f `nx w3s n nb t3.wy mn-m3`.t-r`
Sokar residing in the Mansion of Nefertum when he says; "life and
dominion to the Lord of the Two Lands, Menmaatre!"

The lion-headed god making motions of support to the mummiform god:
2) Dd-mdw.w jn nfr-tmw
A recitation by Nefertum;

3) dj.n=j n=k Hw
"I have given you utterance

4) 3x.w D.t D.t
and benefits forever and ever."

The ibis-headed mummiform god seated on a throne:
5) DHwty Xr.y b3q=f Hr.y-jb Hw.t-nfr-tmw
Thoth, bearing his brilliance, residing in the Mansion of Nefertum,

6) dj=f nxt nb n
when he gives every victory to

7) nb x`j.w stX.y mrj.y-n.y-ptH
the Lord of Diadems, Sety beloved of Ptah.

The Nefertum-emblem* in its shrine on a sledge:
8) nfr-tmw
Nerertum

9) ///////////////////////////////////////////////////////xr=f
[......]unto him.

The sphinx on a pedestal:
10) nTr nfr mn-m3`.t-r`
The Good God, Menmaatre,

11) z3-r` stX.y mrj.y-n.y-ptH
Son of Re, Sety Beloved of Ptah.

The figure of a seated lion-headed god holding a sound-eye and offering a
flagellum toward the sphinx:
12) Dd-mdw.w jn nfr-tmw
A recitation by Nefertum

13) Hr.y-jb Hw.t-mn-m3`.t-r`
residing in the mansion of Menmaatre;

14) dj.n=j n=k rnp.w.t
"I have given you years

15) 3w.t-jb mj-r` hrw nb
of happiness like Re every day."

Resume over King offering meals before the shrine:
16) Dd-mdw.w jn nb t3.wy mn-m3`.t-r`
A recitation by Lord of the Two Lands, Menmaatre,

17) Dd-mdw.w jn nb x`j.w stX.y mrj.y-n.y-ptH
A recitation by Lord of Diadems, Sety beloved of Ptah;

18) Htp dj n.y-sw.t zk(r) T3z p3w.t Hr x3w.t
"A boon which the king gives (to) Sokar", arranging bread upon the
altar

19) Htp dj n.y-sw.t zk(r) T3z p3w.t Hr x3w.t
"A boon which the king gives (to) Sokar", arranging bread upon the
altar

20) Htp dj n.y-sw.t zk(r) T3z p3w.t Hr x3w.t
"A boon which the king gives (to) Sokar", arranging bread upon the
altar

21) m dd n.y-sw.t jrj.t 3x.w.t
as the largesse of a king who does what is beneficial.

22) nb t3.wy mn-m3`.t-r` z3-r` s-Htp jb n msj.w-sw
Lord of the Two Lands, son of Re, who appeases the desire of
the One-Who-Engendered-Him

nb x`j.w stX.y mrj.y-n.y-ptH jrj=f dj.w `nx mj-r`
Lord of Diadems, Sety beloved of Ptah when he achieves (the state of)
Endowed-of-Life like Re.