In the heart of the sanctum, the teacher settles into deep meditation, focusing on the masculine power at the center. With reverence, he envisions and worships this principle, placing the image of Hari—Lord Viṣṇu—at the core and offering worship to the assembled deities. Carefully, he proceeds with the rituals: presenting fragrant substances, fresh flowers, and other offerings, each arranged properly and in the correct order, adorning both the divine limbs and the sacred enclosures. With twelve-syllable seed mantras, he honors Keśava and the other manifestations of Viṣṇu. Within a twelve-spoked circle, the teacher worships the guardians of the world and the other attendant deities, following their prescribed order. Again, he adorns the image with fragrance and flowers, O twice-born, ensuring every detail is attended to. With the recitation of the Pauruṣa hymn and the Śrī hymn, he venerates the pedestal upon which the image rests. From the origin point, he generates the sacred Vaiṣṇava fire in five distinct ways, as tradition prescribes. Oblations are then offered into the fire with Vaiṣṇava mantras, and the wise teacher performs the rite of peace-water. He sprinkles this sanctified water upon the top of the image, preparing for the next phase: the ceremonial bringing of the fire. The fire is brought from the southern altar, accompanied by the declaration, “The fire has been offered.” Before this, he brings the fire from the altar, saying, “We invoke the fire,” and in the north as well, repeating, “We invoke the fire.” As he brings the fire, he recites the mantra: “You, O Agni, are indeed called Agni.” At each altar, he offers one thousand and eight palāśa wood sticks as sacred fuel, and, with Vedic mantras, he presents rice and other grains. Using the vyāhṛtis and the root mantra, he pours clarified butter mixed with sesame seeds into the flames. Afterwards, he performs the peace-offering with three sweet substances, ensuring harmony and auspiciousness. With twelve sacred formulas, the teacher reverently touches the feet, navel, heart, and head of the image. He offers ghee, curds, and milk, and once more touches the head, sanctifying the form. After touching the head, navel, and feet, he establishes the presence of the four sacred rivers—Ganga, Yamuna, Godavari, and Sarasvati—in their proper order, invoking their purifying essence. He burns further oblations with the Viṣṇu-Gāyatrī mantra, offers cooked rice with the Gāyatrī, completes the offering, and gives bali (food offerings). In the north, he feeds the twice-born Brahmins, honoring their presence. To satisfy the guardians of the directions, he bestows gold and a cow upon the teacher. Having given bali to the guardians of the quarters, he observes a vigil through the night, keeping sacred watch. The entire ritual is sanctified by the sound of the Brahma-gīta and other holy chants, ensuring that every portion of the ceremony is pure and complete. At this point, the Blessed Lord speaks, instructing: To establish the pedestal, the inner sanctum must be divided into seven parts. In the portion dedicated to Brahma, the wise should install the image. The image must never be placed in the portions assigned to the gods, humans, or spirits; even the slightest deviation from Brahma’s portion is to be avoided. The pedestal, however, should be installed with care in the portions of the gods and humans. If the image is made of a neuter stone, the placing of gems is to be performed. After offering oblations with the Nārasiṃha mantra, the teacher places gems, rice, sacred threads, three metals, iron, sandalwood, and other prescribed substances into nine pits beginning from the east, and, if desired, in the center as well. With mantras starting with Indra, he covers the pit with fragrant guggulu resin. Having completed the rite of placing the gems, the teacher touches the image with darbha grass sticks, invoking the presence of the gods and their attendants. He purifies the image both inside and out, cleansing it with pañcagavya (a sacred mixture of five substances from the cow), and sprinkles it with water from darbha grass and river fords, ensuring its sanctity. For the offerings, he prepares a beautiful square altar of sand, half a cubit in measure, all around the image. In the eight directions, he arranges sacred pots, and brings the consecrated fire with the eight-syllabled mantra beginning with “pūrva.” He recites “tvam agne dyubhir” in the Gāyatrī meter as he offers kindling, and with the eight-syllabled mantra, he pours clarified butter into the flames one hundred and eight times. Sanctifying water is then sprinkled—infused with one hundred mantras—using mango leaves and their stems, upon the head of the deity, while reciting the verse “śrīś ca te.” Lifting the image with the Brahma-mantra, the teacher proclaims, “Arise, O Lord of Speech,” and, chanting “tad viṣṇoḥ,” he leads the image, facing the temple. Hari, the Lord, is then placed in a palanquin and carried around the city, accompanied by joyous singing, Vedic recitations, and celebratory sounds. The procession concludes at the temple entrance. There, with women and Brahmins, and using eight auspicious pots, the teacher bathes Hari. He worships with sandalwood and other offerings, reciting the root-mantra. Next, reciting “ato deve,” he offers cloth and the eightfold arghya (a ritual presentation of offerings). At an auspicious moment, he places the deity on the pedestal, chanting “devasya tva.” With the mantra, “Om, homage to Trivikrama, who strides the three worlds,” the teacher firmly establishes the deity on the pedestal. He bathes the image with pañcagavya, reciting “dhruvā dyaur” and “viśvataś cakṣur,” then cleanses it again with perfumed water. With the worship complete, he honors Hari with offerings to all his limbs and attendants. He meditates upon his own form as that of Hari, visualizing the earth itself as the Lord’s seat. He then imagines a second, radiant form of the Lord, composed of luminous atoms, and invokes the living principle, endowed with the twenty-five elements. This principle is consciousness itself, supreme bliss, transcending waking and dream, free from body, senses, mind, intellect, breath, and ego. From Brahmā down to the smallest blade of grass, the Lord abides in all hearts, and from the heart, he enters the image. “Be firm, O Supreme Lord!” the teacher invokes, establishing life in the image, recognizing it as Brahman, one without a second. Having performed the ceremony of enlivening, he instructs with the praṇava (the sacred syllable Om). He invokes light, knowledge, and the supreme Brahman—one without a second—completing the rite of enlivening with the praṇava. Touching the heart of the image for the rite called “bringing near,” he meditates upon the Puruṣa hymn and utters the secret mantra: “Homage to the Lord of gods, the source of satisfaction and prosperity, the embodiment of knowledge and wisdom, who follows the radiance of Brahman.” He concludes with this prayer: “To the one whose form transcends all qualities, the Supreme Person, the great soul, the imperishable, the ancient one—O Viṣṇu, be present here.” Thus, with devotion, precision, and sacred sound, the image of Hari is established, enlivened, and honored as the living presence of the Supreme Lord.