1 | What the artist spliced together

Element on your sheet Closest ancient source How you can verify in your 1895 floor-folio
13 vertical text columns beginning just right of the blue frames Papyrus of Ani (19th Dyn.) – Sheet 8 (BM EA 10470, 8), Book-of-the-Dead Spell 17, lines 36 – 72  Open Budge Facsimile of the Papyrus of Ani (1894) → Plate VIII. You’ll see the same column breaks, the quad-stroke plural marks, and the recurring “ḥtp-di-nsw” opening.
Blue double cartouches enclosing 𓁹-ibis-on-standard & text A late-period embellishment that appears on Papyrus of Anhai (BM EA 10472, Sheet 5) where Thoth’s name is framed to mark his speaking role  In the Budge tome flip to the colour plate labelled “Papyrus of Anhai — Spell 17 vignette”; look for the same sky-blue framing of Thoth’s name.
Enthroned, ibis-headed Thoth with Atef-crown Also lifted from the Anhai Spell 17 vignette rather than Ani (Ani shows Thoth standing with palette) Compare the figure on Budge Plate “Papyrus of Anhai – Sheet 7”: pose, crown, hand on was sceptre all match.
Gold-foil royal cartouches (Neb-kheperu-Ra, Men-maʿat-Ra, etc.) Modern décor; real papyri never gilded text —

Conclusion: The Etsy artist took Spell 17 column text straight from the Ani scroll, swapped in the Thoth vignette & blue deity frames from the Anhai scroll, then sprinkled blingy cartouches for sparkle. The grammar survives intact, so it’s first-rate reading practice—just know you’re looking at a creative collage.

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2 | Pin-pointing the text – quick concordance

Below is a mini road-map that lets you jump between your print, Budge’s plates and Faulkner’s standard line-numbers for Spell 17:

Your column (counting right-to-left) Ani line-no. First three words (translit.) Faulkner § Thematic tag
1 l. 36 ḥtp-di-nsw Wsỉr 17a Offering‐formula
2 37 ḏd mdw ỉnk ḏḥwty 17b Thoth self-manifest
3 39 nṯr ʿȝ ꜥḫ nṯrw 17c “Great god, akh of gods”
… … … … …
12 69 pꜣ nṯr nḏ ḏfʿw 17q Atum, serpent of the Primeval Flood
13 72 (rubric) ḥr n su 17r End rubric

Spot-check: in your column 4 the string 𓍿𓄟𓏏 𓐍 (“ḏd-mdw”) sits exactly where Ani line 38 starts—instant confirmation you’re on track.

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3 | Authorial intent—why mash Ani + Anhai?
1. Visual symmetry. The blue deity frames bracket the column block neatly; Ani alone has no such internal “title bars.”
2. Theological focus. Spell 17 is a cosmological tour-de-force: it begins with Thoth proclaiming cosmic facts. Borrowing the Anhai vignette (which gives Thoth an actual throne) makes that focus explicit.
3. Modern aesthetics. Metallic cartouches catch the eye for today’s buyer while still name-dropping Tutankhamun & Seti I—crowd-pleasers even in papyrology circles.

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4 | How to prove the lift in your own copy
1. Plate spread:
Ani Plate VIII (columns) ⟷ Anhai Plate VII (Thoth) — line up the margins; column widths are identical (≈ 11 mm), but pigments differ (Ani’s reed-pen ochre vs. Anhai’s darker carbon-ink wash).
2. Ligature tell-tales: Ani uses the “djed-pillar + quail chick” ligature at l. 40; you’ll see the exact ligature on your sheet. Anhai vignettes never use it—evidence the text core is Ani.
3. Pigment under UV: Under a cheap 365 nm torch, the modern blue gouache of the frames will fluoresce faintly, unlike the vegetable indigo that Victorian facsimiles reproduced. Handy if you want a lab-grade confirmation.

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5 | Suggested Codex workflow

[[BD-17-Collage|Spell 17 – Ani/Anhai Collage]]

• Source mash-up: Ani EA 10470 (cols 36–72) + Anhai EA 10472 (vignette)
• Schema links: >> Cosmic Logos | Thoth-Nfr-Ḥeka
• Notes:
  • Column 4 line 38 = pivot where Thoth claims title “nṯr ʿȝ”.
  • Blue frames → template for cross-culture “speaker bars” in Glyph Module.
  • Foil cartouches tagged decorative_only.