Once the sun-like form had been set aside, the process of crafting the sacred image began anew. Six positions were carefully established, starting with the elevation of the head, followed by the shaping of the forehead and nose. The face, chin, and neck were formed next, each feature given its due prominence, and spaces were allotted for the arms and eyes. The hands, delicate and bud-like, were sculpted according to the measure of the image, ensuring harmony and proportion. The face itself was made equal, occupying one-eighth of the total breadth. Having described the four-faced form, the narrative now turned to the three-faced image. For this, the ears and feet were made more prominent, the forehead and other features were indicated with precision, and the two arms were fashioned with four parts, omitting the fifth. The emergence of each face was set by one-eighth of the breadth, just as for the single-faced image, whose gentle eyes were oriented toward the eastern direction. The forehead, nose, mouth, and neck were carefully fashioned, and the arms, if included, were made by a fifth part; if the image was without arms, this step was omitted. For images where the faces emerged by one-sixth of the breadth, it was proper to prescribe either tin or a rooster form for all liṅgas with faces. The Blessed Lord then explained the creation of the pedestal for these images. The pedestal's length was to match that of the image itself, and its breadth was to be half of that. Its height should be half the length, or, if the pedestal was especially broad, a third of the length. The girdle was to be measured by a third part. The hollow within the pedestal was to be measured accordingly, with a slight inclination toward the north, and the outlet for the channel was to be set at one-fourth of the breadth. The base's breadth was made equal, with its extension half of that measure. The water channel was constructed as one-third of the extension. The projection was fashioned as before, using the number sixteen as the measure. The lower part was made six units, the neck two parts, and the throat three parts. All remaining parts were crafted individually, along with the base and the exit. This band and pedestal were common to all images. The door of the image was made according to the measurement of the temple door, and the radiance (prabhā) of the image was adorned with elephants and vyālas. The pedestal was always fashioned as befitted Hari, and for all the gods, the measurements declared by Viṣṇu were used, while for goddesses, those declared by Lakṣmī were followed. The Blessed Lord then spoke of the fivefold establishment: the image itself represented the person, the pedestal symbolized nature, Lakṣmī was the foundation, and yoga was the connection between the two. Installation was performed by those desiring to fulfill their wishes, and the teacher would draw out the garbha-sūtra in front of the temple. The pavilion and its lower parts were constructed in measures of eight, sixteen, up to twenty, serving purposes for bathing, the water pot, and half the ritual materials. The altar was made beautiful, measured by three parts and a half part, and adorned with water pots, small jars, canopies, and similar ornaments. After sprinkling everything with pañcagavya, all materials were arranged, and the adorned teacher, meditating upon Viṣṇu, worshipped his own self. Image-bearers, adorned with rings, bracelets, and similar ornaments, were established in each enclosure, each accomplished in their place. Enclosures took the form of squares, half-squares, circles, and lotus shapes. At the beginning, in the east, for the gateway, the pippala, udumbara, and vaṭa trees were used, and the beautiful plakṣa tree was placed first. Subhadra and andaka trees were chosen for the gateway, while sukarman and suhotra trees were set for the watery and gentle directions and for elevation. After establishing five hastas, Syonā and Pṛthivī were worshipped. At the base of the gateway pillar, water pots with auspicious sprouts were placed. Offerings were made above, and a Sudarśana wheel was crafted. The banner was made with a measure of five hastas, its breadth sixteen aṅgulas, and the best enclosure was constructed seven hastas high. The colors chosen were those of dawn-fire, black, white, yellow, and red, arranged in order from white onward. The banner deities—Kumuda, Kumudākṣa, Puṇḍarīka, Vāmana, Śaṅkukarṇa, Sarvanetra, Sumukha, and Supratiṣṭhita—were worshipped, beginning from the east, with offerings a crore times greater. Water pots, round and resembling ripe fruit, were filled to the brim. One hundred and twenty-eight pots, free from decoration but adorned with gold and cloth around their necks and filled with water, were placed outside the gateway. At the corners of the altar, starting from the east, four pots were placed, consecrated with mantras and untouched by hand. Indra and the other deities were invoked into these pots, and worship began in order from the east. Indra was invited: “Indra, come, O king of the gods, wielder of the thunderbolt, mounted on the elephant. Protect my eastern gate together with the gods; salutations to you.” After worshipping Indra, the wise offered sacrifice. Next, Agni was called: “Come forth, armed with the spear, mounted on the goat, endowed with strength; accept this worship with the gods for the southeastern direction. Salutations to you.” Agni was worshipped with the mantra “Agni is the head,” or with “Obeisance to Agni.” Yama was then invited: “Yama, come, mounted on the buffalo, holding the staff, mighty in strength. Protect the southern gate, O Vaivasvata; salutations to you.” Yama, the gatherer, was worshipped with this mantra. Nairṛta was called: “Nairṛta, come, bearing the sword, accompanied by a powerful vehicle; here is arghya, here is water for the feet; protect the southwestern direction.” With the mantra for Nairṛta, offerings of arghya and other items were made. Varuṇa was invoked: “Varuṇa, mounted on the makara, holding the noose, mighty in strength. Come, protect the western gate, protect, protect; salutations to you.” The teacher worshipped King Varuṇa with arghya and other offerings. Finally, Vāyu was called: “Come, O Vāyu, powerful, banner in hand, with your vehicle; protect the northwestern direction with the gods and the Maruts; salutations to you.” Thus, with reverence and precision, the sacred images, their pedestals, enclosures, banners, and gateways were established, and the guardians of each direction were invoked and worshipped, ensuring the sanctity and protection of the temple and its rituals.