The Madrid Codex (also known as the Tro-Cortesianus Codex or the Troano Codex) is one of three surviving pre-Columbian Maya books dating to the Postclassic period of Mesoamerican chronology (circa 900–1521 AD). A fourth codex, named the Grolier Codex, was discovered in 1965. The Madrid Codex is held by the Museo de América in Madrid and is considered to be the most important piece in its collection. However, the original is not on display due to its fragility; an accurate reproduction is displayed in its stead. At one point in time the codex was split into two pieces, given the names "Codex Troano" and "Codex Cortesianus". In the 1880s, Leon de Rosny, an ethnologist, realised that the two pieces belonged together, and helped combine them into a single text. This text was subsequently brought to Madrid, and given the name "Madrid Codex", which remains its most common name today. Physical characteristics The Codex was made from a long strip of amate paper that was folded up accordion-style. This paper was then coated with a thin layer of fine stucco, which was used as the painting surface. The complete document consists of 56 sheets painted on both sides to produce a total of 112 pages. The Troano is the larger part, consisting of 70 pages comprising pages 22–56 and 78–112. It takes its name from Juan Tro y Ortolano. The remaining 42 pages were originally known as the Cortesianus Codex, and include pages 1–21 and 57–77. Each page measures roughly . Content The Madrid Codex is the longest of the surviving Maya codices. Its content mainly consists of almanacs and horoscopes used to help Maya priests in the performance of their ceremonies and divinatory rituals. The codex also contains astronomical tables, although fewer than those in the other three surviving Maya codices. Some of the content is likely to have been copied from older Maya books. Included in the codex is a description of the New Year ceremony. The codex is stylistically uniform, leading Coe and Kerr to suggest that it was the work of a single scribe. Closer analysis of glyphic elements suggests that a number of scribes were involved in its production, perhaps as many as eight or nine, who produced consecutive sections of the manuscript. The religious content of the codex makes it likely that the scribes themselves were members of the priesthood. The codex probably was passed