The Opening of the Mouth ceremony, arguably the most commonly attested Ancient Egyptian rit ual, has attracted much scholarly attention. Yet, many aspects concerning this ritual remain obscure. One aspect that has hitherto drawn little attention is the physical organization of the ritual's various episodes. This paper demonstrates the close interconnectedness between the ritual's physical layout and its textual content by examining the version inscribed in the funerary chapel of Amenirdis I at Medinet Habu. There, parallel and complementary relationships governed the layout of the texts. Recent work on the funerary texts of Amenirdis has revealed that her selections from the Opening of the Mouth ritual were meticulously chosen and deliberately laid out on the various walls of her funerary chapel. Amenirdis, the first Nubian woman to become a God's Wife of Amun, erected her funerary chapel in the vicinity of the mortuary temple of Ramses III at Medinet Habu (fig. 1). Her chapel, which lies to the southeast of the main temple, consists of two tent shrines, set one inside the other. Each of the two buildings is independently roofed, with the result that a corridor is created between the two structures (fig. 2). Amenirdis's selections from the Opening of the Mouth (OM) cer emony occupy the upper register of the outer walls of this corridor, i.e., the internal walls of the external structure1 (fig. 3). When depicted in a funerary context, the main objective of the OM ceremony was the re-animation of the mummy of the deceased. Re-animation was believed to take place once the deceased's body parts (especially his/her mouth and eyes) were touched using various magical implements.2 A scene, or an episode, is the smallest unit of the OM ceremony. Each scene depicted one ritual act: the ritual slaughter of an ox, the presentation of the foreleg (hps) to the deceased, opening his/her mouth (wp-r), censing, ritual purification of offerings, presentation of various offerings to the de ceased, or an offering list. In addition to the pictorial representations, in the more complete versions of the ritual, texts describing the events of a particular scene were arranged in columns either under or next to the illustration. Typically, a frame enclosed both the pictorial representation and the accompanying texts. In his line-by-line monumental edition of the ritual, Das ?gyptische Mund?ffnungs ritual, Otto identified 75 separate scenes.3 In its arrangement and numbering of the ritual's various