In the celestial order, the guardians of the directions appear in their distinctive forms, each marked by their attributes and mounts. In the sign of Makara, Varuṇa stands holding a noose, while Vāyu, the wind god, carries a banner. When the sign of Mṛga prevails, Kubera, lord of wealth, wields a mighty mace and sits upon a ram. Īśāna, with his matted locks, rides a stately bull. The protectors of the worlds are depicted with two arms, and among them, Viśvakarman holds a rosary of dice, ever engaged in the crafts of creation. Hanūmān, the mighty, brandishes a thunderbolt, his strength rooted in the force of his stance. The Kinnaras, celestial musicians, are seen holding vīnas, while the Vidyādharas, garlanded and radiant, dwell gracefully in the skies. In contrast, the Piśācas appear with feeble limbs, and the Vetālas, spirits of the twilight, have faces twisted in strange forms. The guardians of the fields stand armed with spears, and the ghosts, with their great bellies and emaciated forms, wander restlessly. The Blessed Lord then began to describe the eight groups of yoginīs, celestial mothers and fierce protectors, whose line stretches from Indra to Īśāna. Their names are Akṣobhyā, Rūkṣakarṇī, Rākṣasī, and Kṛpaṇākṣayā. Following them are Piṅgākṣī, Kṣayā, Kṣemā, Ilā, Līlālayā, Lolā, Laktā, Balākeśī, Lālasā, and Vimalā. Further, he names Hutāśā, Viśālākṣī, Huṅkārā, Vaḍavāmukhī, Mahākrūrā, Krodhanā, Bhayaṅkarī, and Mahānanā. The Lord continues: Sarvajñā, Talā, Tārā, Ṛgvedā, Hayānanā, Sārākhyā, Rudrasaṅgrahī, Sambarā, and Tālajaṅghikā are among these powerful beings. Raktākṣī, Suprasiddhā, Vidyujjihvā, Kāraṅkiṇī, Meghanādā, Pracaṇḍogrā, Kālakarṇī, and Varapradā follow in order. Next come Candrā, Candrāvalī, Prapañcā, Pralayāntikā, Śiśuvaktrā, Piśācī, Piśitāśā, and Lolupā. Dhamanī, Tāpanī, Rāgiṇī, Vikṛtānanā, Vāyuvegā, Bṛhatkukṣī, Vikṛtā, and Viśvarūpikā are also counted among them. He lists further: Yamajihvā, Jayantī, Durjayā, Jayantikā, Viḍālī, Revatī, Pūtanā, and Vijayāntikā. Some of these yoginīs have eight hands, some four, and each wields weapons as she desires, bestowing all accomplishments upon the devotee. Bhairava himself is depicted holding the sun in his hand, his elbows forming his mouth, his matted hair adorned with the crescent moon. The yoginīs bear swords, goads, axes, and many weapons that dispel all fear. Some are armed with bows, tridents, clubs, nooses, and half-raised shields. With two hands, some wear elephant skins and are adorned with serpents as ornaments. They consume ghosts and are honored among the mothers, sometimes appearing with five faces. From Aviloma to Agni, these mothers are divided into eight extended forms. Each, with her six limbs and accompanied by her respective group, is to be worshipped in proper order. They are envisioned as mounted upon the temple’s firewood beam, adorned with golden brilliance, joined with sound, the sacred circle, and the drop, illumined by the presence of the mothers and the Lord. At the forefront of these mothers stands Vīrabhadra, riding a bull, four-faced and powerful. Gaurī, with two arms and three eyes, holds a trident and a mirror, and in her four-armed form, she bears a trident, a water pot, a pitcher, and grants boons. Lalitā stands upon a lotus, attended by Skanda’s followers, who hold a mirror-rod. Caṇḍikā, fierce and ten-handed, holds sword, trident, and an enemy-slaying spear; on her left, she carries a serpent-noose, a hide, a goad, and an axe. A bow, a lion, and a buffalo are present by her side, the buffalo pierced before her by the trident. The Lord then spoke of the sacred liṅga and its forms, offering another account from the very beginning. He described the liṅga made of salt, and the one made of ghee, which is said to increase intelligence. For those seeking prosperity, a liṅga made of cloth is known as temporary. Among liṅgas of cooked and uncooked clay, the cooked is superior; among wooden liṅgas, the stone one is best. Yet, above the stone is the pearl liṅga, followed by those of iron and gold. The silver liṅga is highly praised, and those of copper and bell-metal are said to grant both enjoyment and liberation. Painted liṅgas and those made of mercury are also excellent for these purposes. Mercury liṅgas, as well as those made from amalgamated metals and gems, should be increased in number. However, liṅgas made strictly by measure or those artificially perfected are not favored; the self-manifested liṅga is the most auspicious to establish. To the left, as one desires, the arrangement of the pedestal and shrine is made. Worship is to be offered to the liṅga reflected in a mirror, and to the liṅga situated in the sun’s disc. Hari, the Supreme, is to be worshipped everywhere, and full ritual worship should always be performed for the liṅga. The stone liṅga is measured by the hand, as is the wooden one. The movable liṅga is measured by a finger and is placed either at the doorway or in the inner chamber. The household liṅga ranges in size from one finger up to fifteen fingers. The measurement from the doorway is threefold, and from the inner chamber, ninefold; with the ninefold inner measurement, one should worship the liṅga in the abode. Thus, thirty-six liṅgas are known by the highest measure, thirty-six by the middle, and thirty-six by the lowest, making a total of one hundred and eight liṅgas. Of these, the smallest movable liṅga is from one to five fingers in height; the medium is from six to ten fingers, and the highest from eleven to fifteen. The great gem liṅga measures six fingers; with other gems, it is nine fingers. The gold liṅga, fashioned from the rays of the sun, is measured with the remaining three and five. In the sixteenth part and the Vedic portion, omitting a yuga from the upper region, one should remove thirty-two sixteenth parts at the corners. From four placements, the neck measures twenty by three yugas; and with the two sides omitted, the moving liṅga is considered the best. By the measures of yuga, ṛtu, and nāga of the abode, the doorway is gradually reduced from the base. With the height of the liṅga and the doorway, the lower part is made less by a foot, in sequence. The inferior liṅga is half the size of the sanctum, while the best is three times the measure of the elements. Between these two, seven threads are to be placed evenly. Thus, there are nine threads, and with the threads of the elements, the middle one. With two intervals, left and leftmost, the length of the liṅga becomes nine. From the hand, the measurement increases as far as nine palms. The liṅga is thus of three kinds—inferior, middle, and superior—each possessing a threefold nature, each worthy of reverence and worship in its own manner.