Photography here is extremely difficult, not just because of the absence of light, but especially because of the narrowness and height of the passages, which doesn't permit standing far enough back. Therefore reliance will be made essentially on the plans of the MIFAO and on the photographic plates of Steindorff, which, in spite of their age, remain unavoidable. All of the corridors lie in a north-south direction, the entry from the courtyard being at the northern end.

This measures 5.90m in length by about 1.15m in width, with a height of about 4.4m. It is limited at each end by a doorway. On its west wall is the false-door of Neferhetepes.

The two sides are symmetrical, occupied by only one composition: three successive images of Ty, turned towards the courtyard, surmounted by eleven columns of text detailing his titles and functions. For the east side see and ; for the west side see and .
Each time, Ty is represented standing with bare feet, his hips covered by kilt with a triangular front-piece. A large necklace adorns the top of his chest, and he holds his long staff in his right hand. His name is placed immediately in front of his face. Obviously, he is filling a ministerial office.

The first Ty, closest to the courtyard, holds a fold piece of cloth in his left hand and is adorned by a long wig. He wears two broad decorative bands across his chest, to which is attached a large and interesting pendant representing Bat, a cow goddess.

The second Ty holds in his left hand a sekhem-sceptre. His wig has a rounded form with tight curls and fits close to his head. His body is covered with a leopard skin, indicating that he exercises here the function of a sem-priest.

The third Ty tightly holds a scroll in his left hand. He once again wears a long wig, whilst his chest is crossed by a single wide piece of material.
At the entry to the intimate part of his chapel, Ty reminds the visitors of his social status on earth, in particular the very important priestly role which was his in the pyramids and solar temples, where he officiated.

A large stela false-door divides the wall into three parts (see ).

The wall is decorated with rows of porters of offerings, arranged in registers of about 0.35m of height, four of which remain on the right and six on the left. These will not be dealt with in detail, with reference being made only to the drawings of the MIFAO and the photo of Steindorff.

On the right (see ), the lower register deserves special mention. The texts (only given in the bottom register) mainly indicate that some of these man are 'funerary priests', however, among the texts is a cartouche of the king "ka-ka-i" (this being Neferirkare). It is located under a large container, held by the third and fourth porter, in which are piled plucked birds. It should probably be understood that this is a gift from the king for the funeral of Ty.

On the left (see ), the remains are again vague, with the only text (on the bottom register) stating that some men are again 'funerary priests'. Above the sixth register of porters is the remains of a seventh, which shows offerings laid on the ground. When the men are examined carefully, it can be seen that they have very probably been drawn using a stencil template, because their attitudes are highly stereotyped: it seems that there was one body type, to which have been added different styles of arms, according to need: slightly bent, holding an object, carrying poultry, etc…

This magnificent stela is dedicated to Nefer-Hetep-es (Neferhetepes), the wife of Ty. She is represented identically everywhere: she wears a slim-fitting dress with two shoulder straps, which should cover her breasts, but which somehow manage to be revealed as a symbol of femininity. On her chest is a large usekh-necklace of several rows, whilst her neck is enclosed by a tight band/collar (or choker necklace). She wears bracelets around her wrists and ankles. On her head, she wears a long tripartite wig.
The stela consists of a central (base) panel with two upright panels on each side, the outer ones extending higher than the inner ones. An inner lintel spans the inner uprights and the central panel, which also includes above it a scene of offering. An upper lintel spans the full width of the stela.

[NB: although some of the texts are included below, eventually, a complete translation will be provided].

In this narrow oblong central zone, is a small rectangular structure with a symmetrical design, either side of its central axis. It represents the text (2) associated with Ty's deceased wife: "the venerable (or the blissful), known by the king, Neferhetepes". Above this is the same text (1), but an abbreviated version: "known by the king, Neferhetepes".

These each have, at the base, an image of Neferhetepes, surmounted by her name, written horizontally. Above this, in both cases, are three columns of text, a prayer and her titles, which notably include in the central column the one of priestess of Hathor: "rxt nswt; Ht-Hr; Hm xm-nTr; Xkr nTr watt nswt".
The columns of text of the right upright represent an address to Osiris, so that he may grant a burial in the necropolis to "the wife, loved by her husband, the unique friend, Ty".
On the left, the supplication is addressed to Anubis, so that it transfers to him the offerings of the royal table every day. There is also a mention of the god Wepwawet, 'the opener of the ways'.

These texts are of a similar nature, only longer and repetitive.

Three lines of text run horizontally from left to right toward a seated Neferhetepes. The deceased asks Anubis for a beautiful funeral, for offerings of bread and beer at the time of every festival, including also her venerable titles, of priestess of Hathor and Neith.

"Known by the king, Neferhetepes" is seated in front of a table piled with breads. Her seat has animal paws (bull rather than lion), and a very small rounded backrest. Under the table is a list of the offerings: "a thousand oryx, a thousand gazelles, a thousand oxen, a thousand pieces of cloth, a thousand birds, a thousand breads, a thousand beers". On each side, in a recess which enhances the central part, a funerary priest makes an offering. The one on the left presents cloth: "bringing material, by the inspector of the funerary priests, Nefer". The one of right offers perfume or ointments, with the thoughtful gesture of opening the lid between the thumb and forefinger: "For your ka, Neferhetepes! (by) the funerary priest, the royal scribe, Rasekhem".

Only a small part of this survives, but sufficient to recognise this classic table structure of the Old Kingdom, a structural list of offerings (names, quantities) divided into squares.

The wall is very dark and, as with the facing wall, very difficult to examine (as can be seen in the poor image). Judging by the photos taken in 1913, there has been no cleaning since this date.
Six registers, each includes thirty-five porters of offerings, surviving either fully or in part, most of whom are identified as "funerary priest". In front of each pair of rows, at the right extremity of the wall, the column of text always includes: "the unique friend, Ty". The first four registers have almost survived completely; the fifth register has lost a part of its decor in the north (left end), the sixth register has only preserved five characters and the beginning of a sixth.
Although the decor was probably achieved using a standard pattern, the designer had been careful to vary the scenes. Thus, for example, there can be found on register 1 a porter who carries two dishes with offerings, and on register 2 a large offering being carried by two porters (unlike a similar occurrence found on the west wall, this time it does not have the accompanying cartouche of the king).

To provide an idea of the appearance of the wall, the following plates are of the right-hand part of the wall. Note, the odd numbered registers are at the bottom:
: to the right of the two registers is the column of text stating: "supplying of a choice dish, the best of the offering table, for the unique friend, Ty"
: The text in front of the second (right) porter of register 4 identifies him as a "scribe". To the right of these two registers is the inscription: "supplying of offerings through the false door of the unique friend, Ty".
: The text in front of the first (right) porter of register 5 identifies him as "scribe of the sacred book, funerary priest". The text in front of the second porter of register 6 says that he is the "scribe of the workmen, inspector of funerary priests". His name appears to be "Ptah-iren" and this same scribe appears again on the south wall, in the bottom register, next to the doorway. To the right of the two registers is the inscription: "supplying of choice cuts (of meat) for the unique friend, guardian of the crowns, Ty".

The relief of this wall, which has the entry to the second corridor, has suffered especially, and the colours have almost disappeared, only the image of Ty has preserved some of the colour. The engraving work is of quality, but very difficult to distinguish, but an image (the one opposite) has been created with an outline overlay effect.
The right upright of the doorway is undecorated, due to its extremely narrow width. On the left upright, only two funerary priests are visible, one above the other. The first, identified as "scribe of the workmen, inspector of funerary priests" (see ) carries the foreleg of an ox (this is "Ptah-iren", who also appeared on the east wall, in the register 6) ; the second holds two birds.
Above of the doorway, the first register shows five civil servants who, with their left hand on the right shoulder, head towards Ty. The first (on the left) is an "archivist", the second is the "oldest in the house", the third is a "funerary priest and scribe", the fourth is "responsible for materials" and the fifth is the "inspector of funerary priests".
The register above, designed in two facing symmetrical scenes, has the FOUR sons of Ty (see ) : right of centre is "Demedj, his beloved son" (his titles: 'overseer of the fowling pond and overseer of hairdressers'), left of centre is "Ty, his beloved son" (his title: 'inspector of hairdressers of the great house'). At far left is "Bunek, his beloved son" and finally, at the extreme right, is the fourth unnamed son, but simply identified as "his beloved son".
Finally, at the top, Ty is seated on a chair with feet in the shape of bull hooves. He listens to the report from an official scribe, who opens up a papyrus in front of him. Above the scribe's head can be read his titles appropriate to his funerary responsibilities in the pyramids of the kings which he served. In front and above Ty's head are several columns of text, which are now very incomplete.

The opening, which is offset to the right, measures about 0.75m wide by 2.10m in height, becoming even narrower due to the fact that it was recessed to take a door at the first corridor end. The actual passage is about 1.5m in length. It is very badly illuminated and impossible to photograph, and it is necessary rely on the drawings from the MIFAO, therefore, for the east side (g) : see and for the west side (d) : see . The two sides are of superimposable representations. Ty is shown twice, turned towards the first corridor, thus he faces the main entry.

In the first image he advances, materials of a scribe on his shoulder, wearing a broad necklace, his body wrapped with the skin of feline, his head adorned by a round and short wig. He holds his long staff in his right hand on the east wall, left hand on the west wall, whilst in his other hand he holds the sekhem-sceptre. It should be noted that in both cases the sceptre passes in front of his body. He is accompanied by his son Demedj, who holds Ty's long staff with the same hand as his father.
Behind, in the second image, he wears a long wig, a short kilt and a broad necklace. Once again he holds the long staff and sekhem-sceptre. This time he is accompanied by his son Ty (junior), who also holds his father's staff.

The two columns of texts, one of each stand in front of the image of father and son, carry the titles of Ty. Notice that Demedj, here as elsewhere, seems to always have precedence over his brother. As for the two other sons, they are not even mentioned.

The corridor is 2.75m in length by approximately 1.1m in width, its height is about 4.5m. It is interrupted more or less in the middle, on the right (west) side, by the doorway to the storeroom. This narrow entry is approximately 0.7m wide by 2.1m in height.

This is centrally pierced by the doorway from the first corridor, so that this corridor is offset to the right of the previous one, where the exit was towards the right.
The upper part of the wall is 0.33m further into the corridor than the uprights and lintel, thus producing an overhang. These uprights and lintel are uninscribed.
The upper wall is decorated with one of the most famous scenes of the mastaba, beautifully executed and having preserved its colours. Ty is in a barque, in a papyrus marsh (see ). The boat is a frail craft of reeds, of which the fastenings (sometimes painted in yellow) are very visible. It rests on a rectangle that was once blue, representing the water of the marsh. At a smaller scale than Ty, at the front and rear, two men control the craft. At the rear, one of the boatmen, with his feet resting firmly on the long raise stern, pushing with all of his strength on a long pole, whilst at the front, the kneeling man holds in his hand a paddle with which he directs the boat.

Ty, wearing a long wig, large necklace and kilt with a triangular front piece, stands at the centre of a horizontal decking floor which covers the base of the craft. Tightly held in the grasp of his hands, in front of him, he holds or pulls two papyrus stems, just below the umbels. These green stems constitute the whole background of the scene. They continued above, and their flowers (with the exception of those held by Ty) opened up in an upper register, which has disappeared. At the master's feet, and holding his left ankle, is his wife Neferhetepes, who holds a lotus flower to her nostrils, whilst, standing at the prow, one of the sons grasps, like his father, a stem of papyrus. The men have red skin, according to classical convention, that of the wife, less exposed in the sun, is pale. The black colour of the wigs has disappeared completely.
It seems that there is a symbolic allusion to the harvest and the offering of papyrus to the goddess Hathor (during the Old Kingdom, the representation of deities was not part of the repertoire of the tomb). It is probably meaningful that this scene is the one which dominates the passage to the first corridor, where the false door of Neferhetepes is located, who was recorded as being priestess to the cult of Hathor.

From the original height of 4.50m, the wall has lost its top metre completely. At its base, here as elsewhere, exists a non decorated zone of 1.50m in height. Therefore, there exists 2m of well preserved decoration, distributed on five registers, with a gap in the fourth and a large gap (2/3) in the fifth.

The lower register can be divided into five scenes, which take place southwards from the north wall, towards the entry of the chapel. They have been well studied by Montet and Wild. The general appearance of scenes and characters are almost identical to those already previously encountered in the courtyard.

Two porters advance, each carrying on his shoulder a large vessel, the purpose of which is confirmed in the inscription, 1: "transporting the vessel (for its) blood". They head toward the first group of two butchers, one sharpening his knife, the other cutting the foreleg of an ox, which is held vertically by an assistant. The rear leg is bound. The assistant is clothed in a loincloth, as are the porters of the vases, the two butchers have a kilt. The first butcher sharpens his tool with his sharpener, the legend (2) says : "sharpening by the butcher", the second carries his sharpener in his belt, he cuts the foreleg and admonishes his aide, 3: "pull, you butcher".

First advances a porter with a vessel for the blood, 4: "see this vessel", then a sharpener tells his colleague, 5: "take this knife which I have sharpened". Finally, two butchers are at work on the animal, which this time has all four legs bound. Legend 6 says: "cutting a young ox by the butcher", and additionally, 7: "bleeding the ox by the butcher".

The first butcher sharpens his tool, 8: "sharpening the knife by the butcher"; the other two pull the heart from the beast; legend 9 tells us: "carving of a young ox by the butchers of the estate" and 10: "pulling the heart by the butcher".

This is identical to the first, but with the following legends, 11: "sharpening the knife by the butcher"; 12: "cutting a young ox by the butcher", which cannot be done until having, 13: "turned the ox".

This is located just before the entry into the chapel. Two men of (15) "the team of the month" carry a foreleg. The texts, which should all be preceded by (17) "to bring", say: (14) "cuts (the pieces of choice) to the unique friend, Ty"; (15) "the morning meal, by the funeral priest of the month"; (16) "the evening meal, by the funeral priest of the month".

This represents the transportation, towards the tomb, of two standing statues of Ty. The action takes place from the entry towards the rear of the mastaba (see ).

On the left (see ), partially destroyed, is the end of a cortege which consisted of vessel porters, arranged on two sub-registers; the text (1) reads: "bringing the qbH-vessels".

Ty is placed in two tall chapels on sledges, at the height of two registers, pulled by seven men wearing loincloths.

The left-hand statue (see ), nearest to the entry, is inside a chapel made of a light construction. The text, (2) above it, informs that its is a "statue of ebony". The image of Ty holds his staff with one hand and a folded piece of linen with the other. Between his head and the roof of the chapel, the text states: "the unique friend, beloved of his master, Ty". The blue colour of the hieroglyphs with his name has survived.
In front of the sledge, a man lubricates the ground to allow it to slide more easily, he says, 3: "pouring water". Next, pulling the sledge, are seven characters, headed by a porter with a vase (see ). Each haulier is preceded by the inscription, 8: "a beautiful procession" to express the ease and beauty of the action. Above them are two legends, 4: "pulling the statue of the unique friend, Ty, guardian of the crowns" and 6: "funerary priest carrying a qbH-vase". This last text relates to the porter of a vase, who also has the same ritual function as that already seen, but who seems to be, 7: "scribe of the treasury", a very important position, which shows, also, that all porters and participants of these scenes are not of merely servants.

The right-hand statue (see ), according to the text (10), above its chapel, is "the unique friend, Ty, guardian of the crowns", and is (9) a "statue of acacia" which shows Ty holding a sekhem-sceptre instead the folded piece of linen (see ). This time the chapel has two side extensions and a very solid roof, thus giving it the appearance of a shrine. The statue benefits, according to the text, from the same assistance as the first, 13: "pouring water, by the director of the equipment", but this time the one doing the pouring is of a higher rank. Above of the men, the long legend, 12, states: "transportation of the statue of Ty, appointed to the secrets of the house of the morning"..

Above the hauliers of the two scenes, the sub-register is occupied by an accumulation of offerings, and notably many containers; the function and content of which remains unknown, as no descriptive text is supplied.

The scene is almost superimposable with the previous, again two statues being pulled on sledges, but this time the statues are of stone and they are seated. Also they are not inside any form of chapel structure.

 The left-hand statue (see and ), nearest to the entry, has Ty holding his folded piece of cloth in his right hand, with a man in front of him presenting perfume, and behind is another man holding a qbH-vessel. In front of the sledge, a high ranking character pours water in front of the runners, 1: "pouring water by the director of the workers of the funerary estate". Seven men who pull the sledge are accompanied by the text, 3: "a beautiful procession". The horizontal text (2) says: "transporting the statue of the unique friend, guardian of the crowns", then comes an inexplicable gap in the text, followed by what obviously constitutes the end of the sentence "beloved by his master, every day, Ty".

 The right-hand statue (see ) represents Ty with his right hand placed on his thigh. Standing on the chariot and facing him, a man presents a box of perfume, opened to his nostrils. Behind him, a man holds a fan and a piece of cloth. In front of the sledge is, again, a high ranking character, pouring water in front of the runners. Again the text (4) states) "pouring water by the director of the workers of the funerary estate". This time only six men pull the sledge. The legend is first vertical (5), then horizontal (6) : "transporting the statue towards the tomb of Ty, for the unique friend, appointed to the secrets of the house of the morning, the beloved of his master, Ty".

Here again are two standing statues, hauled respectively by seven and eight men. They are not identical, and they are not contained within a chapel structure. For some unknown reason, the first statue, closest to the entry, is supported by an aide (see ). The text (2) above the men pulling the statue on the right (see ) says: "a beautiful procession, on the beautiful road (for) the one blessed by the great god, the unique friend, Ty". Again, in both instances, the man pouring the water in front of the runners has the text, 1: "pouring water by the director of the workers of the funerary estate".

Only part of this has survived, above the right-hand section of register four, showing food offerings (see upper part of ).

More or less in the centre of this wall opens up the entry towards what is usually referred as 'the storeroom', and which the MIFAO designates as room II.
The wall is dedicated to scenes of navigation which are distributed in three registers, the first (lower) one, which is divided by the entry to the storeroom, and the one above the entry, show the boats advancing under sail. The upper one is divided into two sub-registers, with the boats powered entirely by oarsmen. The content of the miniscule remaining fragment of a fifth register is difficult to describe.
The boats of all the registers are, with only minor differences, of the same model, with a curved hull, and a stern which is slightly higher than the prow. All have a raised deck structure. On the lower two registers, the oblong sail is supported by a double mast retained by a multitude of ropes. The sail is controlled by two halyards controlled by a man either standing (register 1) or seated (register 2) at the extremity of the stern.
The steering of these great vessels takes place with the help of several very large oars/rudders positioned at the rear. Boats usually moved upstream, against the current, under sail. In addition to the sail, on the boats using them, there are rowers to compensate any absence of wind. When the sail is expanded, as it is the case in the two lower registers, the men are inactive and the oars are raised.
To go upstream, against the current, the Egyptians also used human traction, provided by men on the river bank, pulling the boat with the help of a rope. The fact is reported by Herodotus, who speaks of about twenty men. The scene is also represented in other tombs, but here, from lack of space, the representation is symbolic, with one or several men moving forward. There are three men with the boat on the left of the doorway. To the right there is only one man, who carries an oar. In the register above the doorway the men are arranged between the boats, firstly five men, then two others who are transporting the tow rope (or perhaps a mooring rope).

One of the two men standing at the prow says, 1: "make it face west", this order is relieved by the man seated on the roof of the deck structure, who transmits it to the stern, to the man holding the halyards, and to those who operate the rudder oars. As is still a fact nowadays, it is the helmsman who executes the order from the pilot, who then responds by echoing, 2: "west".

The scene on the right of the doorway starts with a long divided text (1-7) : "returning from the delta, after inspection of the funerary estate" - "by the unique friend, " - "guardian of the crowns, " - "Lord of Nekheb, " - "favourite of his master, " - "councilor to the secrets in the house of the morning, " - "Ty". Thus, here is confirmation that the boat travels up the course of the Nile, which its extend sail already suggests. On the bridge, three men, including, 11: "overseer of the workers of the estate", who says, 9: "the weather is beautiful". His colleague behind him turns around toward the third man and instructs him to, 10: "transmit the order, attend to the rope, the sail is behind you". At the top, another (8) "overseer of workers of the estate" holds an oar in his left hand and a piece of rope in his right.

The flotilla consists of three identical boats sailing southwards, with open sails.
On the left is the flagship (see ), as indicated by the presence of 2) "the unique friend, guardian of the crowns, Ty" who stands in the middle of the deck, leaning on his staff. Crouching opposite him is the "head of the crew". The mast includes at its base a kind of heart formation, which is not found elsewhere. Maybe it is a system of ropes strengthening the masts, because this ship, with its ten oars-men, is probably larger than the other two, which only have eight of them. The legend on the left (1) proclaims: "west towards the canal". (Montet thinks that it is necessary to understand here the term 'channel' (or navigational zone), on which journeys on the Nile depended as being deep enough for passage). This order is transmitted towards the stern by the repeater.
The man on watch at the prow of the second boat signals, 4: "on the right, this is the true water", probably indicating the clear water, without obstacle, information which is repeated to the stern in text (5). The repeater of the third boat transmits 6: "towards port" (see ).
As already mentioned, between the top of masts of these three boats are the men running on the river bank; on the left are five, on the right are the two who are carrying the large coil of rope. Besides being employed to pull the boat when needed, but also to prepare it for boarding or temporary docking as there were very few harbours on the Nile. When a boat needed to moor, an area with a slope would be located, some men would jump from the ship and drive a stake into the ground from which the craft would be moored (the stake for mooring is also an image frequently used in the religious literature).

Six boats with oars, three on each sub-register, navigate in the opposite direction to the ones of the two lower register (that is, northbound), a direction in which their sails are useless (see ).
Five of these ships are propelled by the rowers in the same way, that is facing in the opposite direction to which they travel, whereas those in the boat at the centre of the bottom sub-register face the front of the boat (see ). This boat also has a different hull structure (see ) ; it seems to be made of reeds, because the ties which surround the bundles of stems can be seen. The boat in front (right-hand side, bottom sub-register) has a beautiful figure-head (see ).
Unfortunately, no legend is visible in this register nowadays.

(See , and ). This has the opening which leads to the chapel.
The narrow (about 0.70m) doorway is framed by columns of text, with the name, titles and functions of the deceased. The scenes of dance and music of the three registers above the doorway of the are very famous, but the comparison between the current images and those taken by Steindorff 1910 shows how much they have become damaged during just one century.

Each of these registers has five dancers and three accompanists who clap their hands and sing to give the rhythm (texts: 3) "clapping of hands" and 4) "singing, by the harem"). The activity of the dancers is doubly specified: 1) "dancing, by the harem" and in front of each: 2) "dancing". Each dancer wears a loincloth and a long transparent skirt. The chest is naked, but is crossed by two straps which hold the skirts in place. Each holds both of her arms high above the head with their hands touching.

Musicians are represented here, which accompany the singers (chantresses) and dancers. Two harpists who face each other, and a flutist who kneels with one knee raised. They are accompanied by three singers (one on the right, behind the harpist, and two in front of the flutist). The accompanying texts state: 1) "playing the flute"; 2) "singing by the chantresses of the estate"; 3) "playing the harp"; 4) "singing".

Ty is seated on a chair with a large backrest and high armrests, placed on a platform. He wears a long wig and an a small beard. With his right hand, he waves a short cane, whilst his left arm is nonchalantly placed on the armrest. At his feet and facing him is his wife, Neferhetepes. It is possible that this shows that here the couple are attending the festivities which are displayed on the registers below.