The most striking proof of the astronomical character of the codices is to be seen in pages 46-50 of the Dresden Manuscript. Here, to begin with, a period of 2,920 days is represented, which exactly contains five Venus years of 584[21] days each (one on each page) as well as eight solar years of 365 days each. Each of the Venus years is divided into four parts, respectively, 236, 90, 250, and 8 days. The {32} first and third of these constitute the periods when Venus was the morning and the evening star, respectively, and the second and fourth, the periods of invisibility after each of these manifestations. This Venus-solar period of 2,920 days was taken as the basis from which the number 37,960 was formed. This contains 13 Venus-solar periods, 65 Venus-years, 104 solar years, and 146 _tonalamatls_, or sacred years of 260 days each. Finally, the last number (37,960) with all the subdivisions above given was thrice repeated, so that these five pages of the manuscript record the passage of 113,880 days, or 312 solar years. Again, on pages 51-58 of the same manuscript, 405 revolutions of the moon are set down; and so accurate are the calculations involved that although they cover a period of nearly 33 years the total number of days recorded (11,959) is only 89/100 of a day less than the true time computed by the best modern method[22]--certainly a remarkable achievement for the aboriginal mind. It is probable that the revolutions of the planets Jupiter, Mars, Mercury, and Saturn are similarly recorded in the same manuscript. Toward the end of the Dresden Codex the numbers become greater and greater until, in the so-called "serpent numbers," a grand total of nearly twelve and a half million days (about thirty-four thousand years) is recorded again and again. In these well-nigh inconceivable periods all the smaller units may be regarded as coming at last to a more or less exact close. What matter a few score years one way or the other in this virtual eternity? Finally, on the last page of the manuscript, is depicted the Destruction of the World (see pl. 3), for which these highest numbers have paved the way. Here we see the rain serpent, stretching across the sky, belching forth torrents of water. Great streams of water gush from the sun and moon. The old goddess, she of the tiger claws and forbidding aspect, the malevolent patroness of floods and cloudbursts, overturns the bowl of the heavenly waters. The crossbones, dread emblem of death, decorate her skirt, and a writhing snake crowns her head. Below with downward-pointed spears, symbolic of the universal destruction, the black god stalks abroad, a screeching bird raging on his fearsome head. Here, indeed, is portrayed with graphic touch the final all-engulfing cataclysm.