As already stated, the presence of the pillared courtyard was unusual in the mastabas of this period. The possibility that this may have been an exterior addition has been suggested, and that this would have been grafted on to the original brick structure. But this it seems less likely, notably because of the location of the entry to the burial chamber is in the middle of this courtyard (see ).
The courtyard measures about 14.10m in length (north-south) and 11.65m in width (east-west). Twelve pillars, spaced 1.50m apart, stand around the edge, positioned on average at 1.66m from the east and west walls, and nearly 2m from those of the north and south (see ). All four faces of each are decorated, but each time with the same theme: a standing figure of Ty, with a long staff and a sceptre.
They thus define a covered periphery for the courtyard, which therefore, for a time, secured the protection of the decoration (especially the colours) against the inclemencies of the weather and the scorching sun which floods the central part of the courtyard.
Currently, this area in the open, as is the entry of the corridor leading to the burial chamber below. However, originally, after the funeral, the burial chamber descent would had been filled and paved over, in order to be at the same level as the peripheral walkways (see ).

The courtyard is entered from its the western end of the north side (see ). By taking a few steps sideways to the right and still facing south, the west walkway can be seen between the pillars and the west wall, at the far end of which is the entry to the chapel, located at the far end about 32m away. (see ). The entry to the courtyard is wide when compared with the very narrow second corridor, which forms the entry to the chapel.

Now follows the examination of the walls, proceeding in a clockwise direction.
The upper part of all of the walls is lost, as well as part of the middle and lower registers. After the collapse (or the removal by quarrymen) of the roof protecting the walls, the whole colour of the decoration has disappeared, making it especially difficult to photograph in full light.

North wall - east part

(see )

This measures 8.30m in length, and the original wall is preserved to a height of 2.04m, with two small extra appendages.
Thus, only the bottom register is complete and is traditional to the Old Kingdom, it contains scenes of butcher shop.
The wall can be divided in two parts: on the left the scenes of the butcher shop, framed on each side by Ty; and on the right, processions of priests converging towards serdab slot, located towards the eastern end of the wall.

The left two-thirds

1) - The left extremity, close to the entry.

Ty is standing, turned towards the scenes which take place on the wall in front of him. He is represented in large size, probably to the height of the three registers. His head, his forearm and his left hand are erased, whilst the bottom of a necklace can still be distinguished. He wears a kilt with a loincloth with a large front-piece and sandals. In his left hand, he holds the large staff, whilst his right hand is tightened around a piece of cloth. Behind him walks a man of a much smaller size, barefooted, wearing a short wig with curls. His right hand is on his left shoulder in a sign of respect. He is identified as: "… scribe, funerary priest overseer, Ka-aper".
There are two things to note here: 1) the symbol for "funerary priest" is actually written as "hm-ka" and literally means "servant of the ka" or "servant of the soul"; 2) the name "Ka-aper" appears several times with different spelling in hieroglyphs; this is either because the name was actually pronounced differently or that variant name spelling was a common practice. Perhaps they were actually different people sharing a very common name. There is always the possibility that this wasn't the person's true name but a nickname given to the higher ranking officials in this job.
Note: Montet has insisted for a long time the fact that, according to him, the translation: "servant of the Ka" for the hieroglyphic group used in an almost systematic way is probably not good, and that the sign of the down-turned hands was not intended as an inverted "Ka" hieroglyph, but probably intended as a different sign to express the notion of seizure; according to this, a suitable translation would be "porter of an offering". However, I (JJH) choose to use the terms "priest of the Ka", "servant of the Ka" or, as is more often used "funerary priest" for this grouping.

To the right of the deceased is the end of a column of hieroglyphs, stating: "the unique friend, Ty", followed of a title with three boats as the determinative.

2) - The scenes of the butcher shop

The activities begin on the left. These show various scenes of butchery, beginning with trying to wrestle an ox to the ground and continuing with the actual cutting up of the animals.
The first animal is a jwA oxen, as the legend specifies: 1) "controlling 50 young jwA oxen for slaughter". Another type of oxen, the gn or ng, which are sometimes called "long-horned cattle", exist, based on the assumption of Mr. Murray (in Saqqara mastaba: p31). In fact, P. Montet, noted in 1910, when visiting the nearby tomb of , that he realised that both varieties have horns of the same length. This is illustrated by of volume II of the publication by Norman de Garis Davies, which shows in the top register the oxen: 1) "gn", and in the following three registers: 2) "jwA", wearing an enormous necklace. Their difference results from the fact that one is raised in the open air (the gn), while the other (the jwA) is fattened in a stall. Lepsius, in Denkmaler II, shows the gn oxen crossing a ford (see ).

• First scene

(see )

This is located on the left side with two men wrestling the large jwA ox (as identified in the text above the scene) to the ground. One of them, after having bound the rear paws of the animal, uses its left foot to tighten the rope which he has laying over his shoulder and of which he holds the tip with his right hand (see ). The right foreleg of the ox being already immobilised at 90° with a rope which passes over its body, it is in a very unsteady position. At the front. his companion holds the leash with his right hand and a horn of the animal with the left hand, trying to force it down on to the ground.

• Second scene

(see left)

The ox is now slaughtered and laying on its back, The butcher on the left is about to cut the leg being held firmly by his companion. There is no text associated with this scene.

• Third scene

(see and )

On the left, a butcher stands sharpening his knife, in front of him is legend 2: "sharpening by the butcher"; he is naked, with a belt, from which is suspended his sharpener. In front of him another butcher, sharpener in his belt, plunges into the bowels of the beast, whilst his companion pulls on the foreleg; legend (3) says: "Tear out the heart".
Note: There are very often two people, one sharpening, the other cutting. It is certainly not a butcher and his assistant, as frequently expressed, since both have knives and sharpeners. It is probably two butchers, one working whilst the other sharpens; considering the frequency at which is necessary to sharpen copper knives, this not only saves times but is efficient. Montet proposes another possibility: it represents the same butcher at two different moment in time during his work.
Immediately to the right, a man approaches, bringing a vase whose use is specified by the legend 4: "carrying a vase for blood" (see right side of ).

Fourth scene (see left side of )
Two men are at the work; the first addresses his colleague and in legend 5 says something like "Hold it (good) butcher". This time the knife sharpener is on the right facing the left, the inscription (6) in front of him is partially erased, but "sharpening the knife" can still be read.

Fifth scene (see middle of )
This is almost identical to the second scene; the butcher on the left addresses his colleague and tells him (7) : "Pull", the other answers in legend 8: "I do as you wish". It should be noted that as a general rule, that there is never a negative answer in this type of dialogue: the person instructed is always in agreement with the one making the command.

The small sub-register above the butchers (see )
Immediately above the scenes of slaughter, extending to the right the first entry in the registry, there are several tables on which are placed the result of the work carried out by the butchers, including an entire side of beef (of which the ribs can be seen), vases and pots (possibly of fat and blood).

3) - The second register

(see )

This includes scenes of navigation, of which only a part has survived. This is located above the first two scenes where the oxen, on their backs, are being cut into pieces (view tb_0889/01). A barque appears to be transporting several statues of Ty, with the character facing them, identified in the text as "senior (i.e. high ranking) funerary priest", appearing to perform a ritual.

4) - Second representation of Ty

(see right of )

After the end of a column of hieroglyphs: "… for the unique friend, Ty", only the legs and kilt of the deceased have survived. Behind him stands a woman, presumably his wife, of whom only the lower part of her body is preserved.

The right third of the wall

This is centred by a narrow opening to the first serdab, towards which walk the porters of offerings.

1) - The serdab

It should be remembered that this is a completely closed room, or which includes only one (or rarely several) narrow slits. It contains one or several statues of the deceased's ka, supported between others of his ba, to which the offerings can be presented. Via this slit, the deceased can also insure that the service which is due to him is effectively and correctly practiced.

At the mastaba of Ty, there are two serdabs, which is rare. The first, which are dealing with here, is arranged in the thickest part of the north wall of the courtyard (see ). It includes two openings: one in the northeast corner of the entry hallway, and the other is the one currently under discussion.

2) - The porters

(see and )

These are designated as "funerary priests".

on the left: the first two characters come carrying the foreleg of a cow, whilst the next two present a bird, whilst holding it by the beak and the wings.

on the right, the two first also brandish a bird, the third will present a foreleg, the fourth carries, quite casually, the leg on his right shoulder, whilst he holds the handle of a small container in his left hand. Finally there are two porters with birds.
The legends are classic: 1) "bringing"; 2) "the choice pieces"; 3) "senior funerary priest"; 7) "controller of funerary priests".
Note: In order to know if the limb being carried is a bovine forelimb or hind-leg, it is worthwhile to give a rule expressed by Loret in his "Préface à la faune momifiée de l'ancienne Égypte" ("Preface to the mummified animals of ancient Egypt") : in the case of the foreleg, the tip of the hoof and the angle formed by the leg when bent face in the same direction, it is the opposite for the rear thigh. It is thus easy to note that, most of the time, the scenes described as "transportation of thigh…" are faulty, and thus actually represents the forelimb, considered as the noblest part by the Egyptians.

East wall

(see )

This wall hasn't retained much of its original decoration, with a total length of 14.30m only 7.50m has survived of one register and the lower part of a second. The register can effectively be sub-divided into three groups, for ease of presentation.

1) - Scene 1 : the palanquin

This represents an interesting scene, but alas it is incomplete. The scenes showing the deceased being carried in a chair don't appear before the reign of Niuserra (see bibliography - on page 8: A.M. Roth), 5th Dynasty. Then they become canonical in Memphite cemeteries throughout the beginning of the 6th Dynasty. These objects of luxury, as well as the disproportionate number of porters, served to show the wealth and social status of the deceased. But it was also a metaphor for the funerary procession, which, at this time, was not represented. The living person is shown being carried in his chair just as the deceased would have been carried in his coffin. It was a magical means to insure that the deceased would benefit from a funerary ceremony in reality.
In the case of Ty, there are ten men, but there may be twenty, because each could represent two. Each is bare-footed, and clothed with a simple belt whose flaps fall downwards in order to hide his sexuality. Each has one of the supporting poles of the palanquin on his shoulder. The palanquin is formed as a square, but open, box. It extends upwards extensively into the adjacent register. Traces of the seated character can still be observed, knees folded towards his chin. Clearly, the second (upper) register included porters of goods, of which only the legs have remained visible.
Under the palanquin, a man (shown at much smaller scale) leads a monkey with the help of a leash, and behind this is a hound, its tailed tightly curled and its neck decorated with a ribbon. These probably represent the two pet animals of Ty, and the importance which he attached to them is best seen in their size in relation to the small man who guides them (see ).

2) - Scene 2 : the transportation of furniture, etc.

(see )

This is separated from the previous scene by a vertical line (see ). In total their are twenty-six porters. Traditionally, they are described as porters of chests, but, on closer examination, they carry quite a wide variety of objects, including two chairs and several fans. It is possible that some of the items carried are the disassembled palanquin, being brought in pieces to his tomb.

Beginning on the left, the first porter (one of seven who carry chests) is identified (text 2) as "Seal-bearer, Pepy".

The second (text 3) as "funeral priest and hair-dresser (the hieroglyph being a comb) (of) Kakai, Hekenu". Kakai (text 4), written in a cartouche, is the birth name of king Neferirkare, and he is mentioned three times, and in one of the clumsily drawn cartouches (probably graffiti) is written without the final feather, "i", hieroglyph).

The next man, like the first, is identified in the text in front of him as a "Seal-bearer", followed by the Kakai cartouche and a strangely sculpted ankh sign (of "life"). Thus his full title may have been "Seal-bearer (of) the living Kakai." His chest possibly contains clothes, judging from the items hanging over the edge; although it is also possible that these are rolls of cloth which covered the inside of the palanquin.

The descriptive text of the next porter begins with an even more cursive cartouche than in the previous text, also with the missing character; this is followed by the cursive ankh sign, (see ). His profession is given using an image which closely resembles the "Narmer palette" (see ). However, this is interpreted as the word "Xaqw", derived from "Xaq", meaning "to shave". Thus, this porters main profession was that of "barber (of) the living Kakai", probably working alongside the other porter, the "hair-dresser". Today, these two professions are combined, when men are the recipients, under the general term "barber".

Next, are three porters who together carrying a very long chest on their shoulders, the rear short leg of the chest can be seen behind the man at the rear. There is no identifying text.

Then, two men carry, one at the front and one behind, what appears to be one of the sides of the seat from the palanquin (see and ). The two-dimensional character of the piece is manifested in the manner by which the first (left) man grasps it. Clearly seen are the fingers of his left hand extremely close to those of the right, which would certainly not be case if he carried a the full mass of the seat. The title (6) of the right-hand man is simply : "senior seal-bearer".

In front of the two men, another, the tenth, holds a large oval fan with his right hand, and a scroll with his left hand. Again, there is no text.

At the front of the first 13 of the 26 porters, are three men who transport what constitutes another side of the palanquin (see the left part of ). The manner by which it is held by one of the men, once again appears as a flat object and not an object in three dimensions. The two men at the front, apparently hold a projecting front section.

Beginning the right-hand half of the parade (see , starting after the three carrying the seat), are two men who each carry a small chest. They are not identified.

Next are two men who carry, what appears at first to be a strange item (see ). This could be due to the unusual ancient Egyptian idea of perspective. It probably represents the base on which the chair would rest when not being carried. It shows four legs (two are partially hidden) and a square base. The legs are of a traditional form, in the shape of lion's legs ending in the paws.

The character who precedes them carries a piece of wood whose nature remains mysterious. It possibly relates to his title, as given in texts 7 and 8: "supervisor of the monthly service" - " (of) the living Kakai".

In front of him, text 2 identifies another "seal-bearer", who holds under the right armpit a roller of material smaller than those carried by the two men in front of him, and in his left hand, a pair of sandals.

Two porters precede the "seal-bearer", each holding either a long roll of material or a case which seems to include a sort of fastening at the top (see and ). The legend, 9, identifies him as "seal-bearer of the month".

The three preceding men carry chests, one of which has a rounded lid. They are all identified as "senior seal-bearer" (see left side of ). It should be noted that the titles "seal-bearer" and "senior seal-bearer" seems to be a common title, perhaps they represent different seals.

Finally, at the right-hand side, are two fan-bearers, holding the fan with one hand, whilst the first holds in his other hand a headrest, and the second possibly a fly swatter (see and middle of )

3) - Sons and a steward

(see right-hand end of )

With no separation band after the parade of the 26 porters, the register now displays three men squatting on one knee (sitting on the heel of the foot), with the knee of the other leg raised. The first two, on the left and facing right are sons of Ty.

The first, according to text 10, is Ty 'junior': "his son Ty, senior hairdresser of the Great House". The term "per aA", "Great House", here designates the royal palace and will, much later in the 18th Dynasty, designate the king himself.

The second, according to text 11, is "His son Demedj, overseer of the duck farms".

Facing these two is (text 12) "Overseer of the funerary priests, Ka-aper". This title (or a variant) has been encountered several times in previous scenes.
It can be seen that the three men seem to practice a ritual gesture, which appears difficult to understand: Ty 'junior' has his left hand on his right shoulder whilst his right hand holds his left elbow; Demedj has his right hand on his left shoulder whilst his left hand is placed under the right elbow; finally, Ka-aper has both of his hands under his armpits.

4) - The second register

Only the very bottom of this register has survived, preserving only a small upper portion of the palanquin, the legs of several characters; towards the right is the lower portion of two squatting figures and parts of a few objects; finally the feet of two seated people, probably Ty and his wife.

The section above the porters of the palanquin, and again separated from the rest by a vertical line, is the remains of the upper part of the palanquin containing the lower portion of the seated Ty (see ). To its left are the legs of three men, the two of whom appear to be holding staffs of office; to the right are another three men. The six men are probably part of the retinue who attend the transportation of the palanquin.

Above the twenty-six porters of the register below, are the legs of even more porters. The first eight advance towards the left (see ). These are probably a continuation of the line of porters below them.

To the right of this short parade, with no objective separation, the scenes changes. Firstly, three men walk towards the right and then two pairs of men who face each other. The first pair stand in front of what looks like a piece of furniture, with a circular design on its side, whilst the second pair are probably holding something between them. To the right of this couple is another man standing to the right of another piece of furniture, but this time with no circular design.
With no apparent separation, there is next two kneeling men, in front of each of which is an oval object which appears to have strings or spokes stretched from a central point. The character on the left seems to be of a smaller stature.

Finally, at the far right, are the feet of seated figures, facing left. The bottom support of at least one chair leg can be seen on a slightly raised dias, located inside the bottom of pillared supports of the pavilion. The right-most character is obviously Ty. Seated in front of him is another person, possibly his wife or eldest son. Directly in front, and facing Ty, is a standing figure whose identity is unknown.

South wall

Nothing is preserved, the wall is almost smooth; at most, and hardly distinguishable on the photos, are the faint remains of a frieze.

West wall

(see and ).

This measures 14.45m, or 0.15m more than the east wall, which signifies that the courtyard is not perfectly rectangular.
To aid in its description, the wall will be treated as comprising of four parts (or panels). At the extreme left, adjacent to the entry to the chapel, is the false-door of Demedj (to be dealt with last), the remainder of the wall can be sub-divided into three panels.
Here again the undecorated base occupies the lower 1.50m of the wall. Above, the lower register has survived to well over 12.50m in length. However, the last two metres, up to the right-hand end of the wall, have been destroyed. At the middle, a second upper register has survived to a length of 6m, and faint traces of the third can still be seen. Four pictures of Ty, alone or accompanied, punctuate the wall. In each he is turned to face to the right, that is towards the entry of the courtyard, in order to receive the visitors.

First panel

This is immediately to the right of the false-door.

1) - Ty

Only the lower half of Ty's body has survived. Each of the two registers behind him displays two scribes charged with recording what happens on the scenes to the right. On the top register, badly preserved, can still be read: "… the funeral domains", and in front of the second man: "employee". On the lower register, the first scribe seems to be of a higher rank: "scribe inspector of the royal office, scribe of the equipment, senior funerary priest". In front of him is: "the scribe in charge of the royal documents, uppermost of the funerary priests, Ka-aper".
In front of Ty is the lower part of a column of text which relates to domains, or to cities, and ends classically with "… for the unique friend, Ty". .

2) - Boats, animals and birds

This is composed of three register, each of which is sub-divided further, into a lower one containing boats and the upper one with animals and birds. The lower double register has survived to nearly three times the length of those above. On all three registers everything travels or faces towards the left-hand side

A- Lower register

As already stated, this is composed of two superimposed parts.

Bottom part
It is occupied by four rowing boats; the first three are equipped with an open cabin or, to use modern terminology, an 'awning', that is to say a soft top raised on poles; the fourth is not covered, but has a figurehead at the prow. All are provided at the stern with a large pair of oars serving as rudders. The rowers are not represented, and the number of oars shown is variable: 11,17,12,13. At the front of each boat is a stooping man, identified as, 1) : "elder of the yard" and additionally, 2) : "the pilot". Above the first two boats the legend indicates the origin of the goods being transported, 3) : "coming from the south". This legend is prefixed, in the case of the last two boats, with the text, 6) : "putting to shore".

Upper part
Presumably this indicates the animals being transported: gazelles and antelopes, for the first two boats; note their individual fastenings to part of the deck. For the next two boats can be seen cranes and pigeons (the artist has carefully and skilfully interwoven them in their own groups, which would not have been easy), and finally two other animals of the desert, which according the text are, 4) "addax" and a 5) "female addax". The addax is also known as the "screwhorn antelope".

B- Second and third registers

(see )

These are also divided in two sub-registers.

Below, some boats are visible. Actually these are barges, of which the stern and the prow are slightly raised, and which only have four oars at the front. They were possibly pulled from the bank of the river, or by the other boats. On the main area of the deck stands a wooden cabin, fully enclosed, on the roof of which are some jars. At the rear, the stern of the vessel, is another enclosed area. This time the boats transport not only domesticated animals: goats and fat oxen, but also, according to the text, 1) "barley, in quantity".

Above, in register two, each ox is restained and controlled by a halter held by a seated man. Maybe this refers to animals during transportation. The legend does not relate to the scene: 1) "crew chief". In register three, only one boat is complete, its load is designated as, 1) "pxA" (a variety of cereal).

Second panel

(see )

1) - Ty and his family

Here we find the deceased, sandals on his feet, long staff in hand and a large necklace around his neck. Behind him, kneeling, are his wife, Neferhetepes and his two sons Ty (junior) and Demedj, all barefoot. The two sons are displayed on two sub-registers above Ty's wife. Ty, shown almost to the height of all three other characters, faces a list of the inventory of a poultry farm. This time it's about the raising of water fowl. The text, of which the top part is missing, states: " (viewing the records of)… the birds on the ponds of the estate, by the unique friend, Ty".

2) - The inventory

Facing Ty are four columns with lotiform capitols which could reflect the presence of a two storey building. However, it is necessary to consider the two sub-registers as a pictorial convenience due to the lack of place, thus they would be on the same level. Only one opening permits access to the inside of the building, where Ty and his family wait for the stewards.
Above the two sub-registers is the remains of what could be another pair, again with four pillars, thus providing three sub-registers. In these three, it is only the men between the first three pillars which face and walk towards Ty. Behind them the men face in the opposite direction, walking out of the building, towards a large enclosure, in the middle of which is a rectangular pond.

A- The men advancing towards Ty:

The bottom sub-register

Just in front of the opening, a character advances, rolls of papyrus stuck under his armpit. He has the titles, 1&2) : "judge, steward of the domain, inspector of the scribes". Behind him, two more men follow him with more scrolls under their arm, each identified (1) as: "steward of the domain".

Middle sub-register

Above the judge, is Ka-aper reading a papyrus belonging to his master; he is identified as " (1) Inspector of the scribes of the royal documents, scribe of the equipment, (2) high funerary priest, Ka-aper". Behind him, bending forwards slightly, are two men, each identified (3) as being an "archivist", carrying under their arm, in a case, the papyri which may possibly be necessary for the accounting.

Third (upper) sub-register

This is very badly preserved and only its lower part remains, but it seems that the representations were superimposable with the scenes which have just been described, perhaps they were a mere repetition.

B- The men advancing towards the enclosure:

At the right of each of the three sub-registers, the men face in the opposite direction and head out of the building towards a large enclosure filled with birds.
On the bottom two sub-registers, immediately behind the those approaching Ty, are two men who who are still between two of the pillars (see right side of ). In each sub-register they have the same identifying text. The first one, on the right, holds tightly on to a piece of leather or cloth; he is identified as "nxt-xrw", literally, "the one who has a strong voice", meaning that he is good at shouting commands or maintaining control. He is followed by a "Scribe of the birds", who carries the documents he has produced and probably already presented to Ty.
In each register, two other men, beyond the right-most pillar, head them as toward the enclosure (see left side of ). These each carry a large bag of grain either on their shoulder or head. The one at the front of the middle register pours the grain from his container to the ground, inside the enclosure. The two men of the lower register carry much larger containers. No text accompanies any of these men.

3) - The enclosure

(see and )

The two sub-registers are once more combined. But, as with the previous part of the scene, with scribes, the lower register appears to have been duplicated above it.
Eight tall thin poles with forked tops appear to sustain a netting roof, but this is not explicit, and presumably the sides were also enclosed by more netting, but this also isn't shown. At the centre can be seen a rectangular pool, the water for which seems to be supplied by four diagonal gullies. Many of the ducks bathe in the middle of lotus and lilies. The remaining birds peck at the grain spilled to the ground by four more men.

Third panel

1) - Ty and his family

Ty is again seen standing with his wife, shown on a much smaller scale, behind him. This time her jewelry is easier to see: necklace, wrist and ankle bracelets, and her long tripartite wig, which descends down her back. Her dress has two straps which reveal her breast.
The even more diminutive figure of, according to the text, "his eldest son", Demedj, advances at his feet from in front of him, carrying scrolls of papyrus under his arm. He is designated as being "… responsible for the raising of the ducks of the Great Royal House".
On the other side of his father's cane, and clutching it with the right hand, is Ty 'junior', facing in the opposite direction. He has all the attributes of childhood: he is naked, with a small finger pointed towards his mouth, and he wears the long plaited side lock of youth. Around his neck, an amulet (a heart?) is suspended by a chain. In spite of of his apparent youth, he carries the title of "Senior hairdresser of the Great House" (see ).
The end of the column of text above him is explicit to his father: " (viewing)… the birds in the cages of the domain". The scenes of the registers in front of Ty are about the rearing and force-feeding of farmed birds.

2) - The fattening farm

The bottom register has survived in full, but only the left side of the second and third registers.

A- Register 1 (bottom)

(see )

First, on the left, is, 1) : "the scribe, inspector of the royal documents, scribe of the workers, overseer of the funerary priests, Ka-aper", who, with accounts under his arm, heads towards Ty, as does Demedj, who precedes him (see ).
The first man, who has his back turned to him, has an obvious activity, 2) : "feeding the cranes" (the word crane is only indicated by the determinative). Above this group of birds squat two men around a container placed on a small fire. The one on the left agitates a small fan with his right hand, and stirs the mixture with his left, with the brief legend, 3) : "cooking". Opposite him, his companion rolls a piece of dough between his hands, with the legend, 4) : "preparing wads of bread".
Next, again at the bottom, two other men are feeding another group of cranes from containers placed on the ground, with birds waiting their turn (see ). The legend of the first, 2) : "feeding the cranes", and of the second, 5) : "preparing the wads of bread to fatten the cranes". Above this group, two more men are squatting, back-to-back, both identified as, 4) "preparing the wads of bread", which have been elongated, as can be seen in the containers where they have been placed.

B- Register 2

(see )

On the left, a man leans forward slightly, looking at the work of two characters who are squatting and cramming some ducks with food (a third has almost entirely disappeared). Above him is the legend: "watching the feeding by the chief foreman"..

Two men advance towards the next scene. The column of text indicates their mission, 1) : "observing the feeding of the geese". In front of them, another man is squatting on the ground and his action is given as, 2) "preparing the wads of bread to feed the birds".

3) - On the right is again Ty and his wife, in front of whom can be seen Demedj, recognisable by what remains of his title: "chief of the raising of the ducks".

The west part of the north wall has disappeared completely, so, returning to the south extremity, just before the entry to inner part, the examination of the false-door of the eldest son of Ty follows.

The false-door of Demedj

This is therefore on the extreme left of the wall. It measures 1.85m wide and 2.17m in height. It is constructed of five oblong panels, each of about 0.37m in width, with a drum above the central part. A lintel certainly existed at the top, as well as a stela, both of which have disappeared.
The central part, which corresponds to the actual, uninscribed opening, is divided into two by a vertical feature. At its summit, the roller imitates a roll of matting and which includes the (mutilated) name of the deceased, and began by the hieroglyphic sign "mr" (Gardiner U36) signifying that he was loved by someone. The lateral panels are symmetrical, in pairs, and each occupied half by a representation and half by the text. Demedj is standing, turned toward the entry at the centre; he leans on a long staff and carries the sekhem-sceptre horizontally. As seen in the image of Ty on the right pillar of the portico, on the right-hand panels, the sceptre passes behind his hips. The reason for this has already been explained. Just above him, a short horizontal line of text has his name and a title which shows that he is considered as adult: "Known by the king, Demedj". The three columns of text above this enumerate his name and his other titles

[NB: eventually, a complete translation of the texts of this and the other false doors of the mastaba will be provided].

The false-door is next to the entry of the inner covered part of the complex (see ), the part which will now be entered.