Elsewhere, we see him as actively superintending his imaginary vassals as formerly he superintended his vassals of flesh and blood (fig.
129).

Varied and irregular as they may appear, these scenes are not placed at random upon the walls.

They all converge towards that semblance of a door which was supposed to communicate with the interior of the tomb.

Those nearest to the door represent the sacrifice and the offering; the earlier stages of preparation and preliminary work being depicted in retrograde order as that door is left farther and farther behind.

At the door itself, the figure of the master seems to await his visitors and bid them welcome.
[Illustration: Fig.130.Plan of serdab in mastaba at Gizeh, Fourth Dynasty.] The details are of infinite variety.