First, however, we will have a quick look at a pair of useful manu kake. They will e.g. help us understand why there are so many glyphs on side a (392) compared to side b (348). The area to write on is equally large on side b, and therefore the designer of the C text must have had a purpose in determining this distribution of the glyphs:

side a	side b
392	102		240		4
		Cb5-9		Cb14-15
		103		344

At first only 240 (= 10 * 24 = 30 * 8) appears to be of possible significance. Twisting and turning the numbers in the table above, in order to look for more interesting alternatives, this will then emerge:

392	102		240		4
		Cb5-9		Cb14-15
*495 = 5 99 = 5 * (50 + 49)**			*245 = 5 49**
*250 + 2 245 = 740**

Cb5-9 divides the text so that there will be 245 (5 times 7 squared) glyphs beyond it to the end of side b. The other part, which includes Cb5-9 itself, is 495 (5 times 99) glyphs long, a number which in turn is possible equate with 250 + another 245.

I do not believe these numbers are arbitrary, instead they reveal a design. For instance, it is possible to 'read' 245 as short for 24 times 5 = 120, and twice 245 will then be twice 120 = 240. More arguments - relevant for koti at Ca9-9 (once again a double 9) - will be presented following this link.