The sacred rites began with careful preparation and reverence. The practitioner, guided by tradition, took his meal from a golden vessel or from one adorned with lotus leaves or other auspicious foliage. Before commencing, the teacher, the adept, and the son entered into a silent agreement, maintaining a profound stillness together. He took care to avoid the wood of certain trees—banyan, sacred fig, arka, vata, and bhallataka—knowing these were not to be used in the rite. With hands purified, he sipped pure water, drawing it in with the vital airs and intoning the sacred syllable Om, sanctifying himself from within. Turning his attention inward, he offered five sacred oblations, each concluding with ‘svaha’, into the inner, blazing fire—the fire that dwells within the body. These oblations were dedicated to the five vital airs: nāga, tortoise, kṛkara, devadatta, and dhanañjaya. To these upavāyus, he offered water, sipped with the invocation ‘svaha’, and then consumed the remaining water, thus nourishing the subtle energies. He acknowledged: “You are the immortal covering,” and proceeded to offer the prāṇāhutis—oblations to prāṇa, apāna, samāna, udāna, and vyāna—each with the sacred ‘svāhā’. After partaking of his food, he performed the cullaka rite, sealing the act with the thought, “You are the immortal closure,” thereby honoring the bodily airs that sustain life and digest food. Then, the Lord spoke, revealing the rite of installing the sacred thread—a ritual that perfects all acts of worship and related observances. This rite, he explained, is to be performed daily and on special occasions, as prescribed by tradition. The auspicious time for the sacred thread ceremony begins on the fourteenth day from the month of Āṣāḍha, and continues through Śrāvaṇa and Bhādra, whether during the waxing or waning moon, especially on the fourteenth and eighth lunar days. Alternatively, it may be performed on any lunar day up to Kārtikī, starting from the first, with offerings for Agni, Brahmā, Ambikā, the serpent, Skanda, the sun, and the wielder of the trident. Further, the rite includes offerings for Durgā, Indra, Govinda, Smara, Śambhu, and the nectar-drinker, using gold, silver, copper, or other metals in the proper sequence. In the present age of Kali, the thread may be made of cotton, silk, lotus-fiber, or similar materials. The sacred thread embodies the energies of the sacred syllable, the moon, fire, Brahmā, the serpent, Guha, Hari, and all the gods—each represented in the nine threads, which may number one hundred and eight, or half that, or another auspicious count. Other permissible thread counts include eighty-one, thirty-eight, or fifty, with knots spaced evenly. The thread should measure twelve finger-breadths, or eight in width, with the liṅga’s breadth being four finger-breadths. The pedestal’s touch is the fourth measure, and for all the deities, the descent of Gaṅgā is symbolized by a well-twisted, thoroughly washed thread. The knot is tied with the left hand and purified with the Aghora mantra. The thread is dyed with red sandalwood, saffron, musk, yellow pigment, and similar substances. Ten knots are made, using musk, yellow pigment, camphor, turmeric, red ochre, and the like, or according to the number of threads. The spacing between knots is made pleasing—one, two, or four fingers in width. There are basic types of knots: masculine, heroic, and a fourth called Unconquered. Other auspicious knots include Jaya, Vijaya, Ajita, Sadashiva, Manonmani, and Sarvamukhi, more numerous than the standard. These knots may be made for the moon, fire, sun, the sacred thread itself, or in the manner of Shiva; for each form, for flower-offering, for the teacher, or for the group. Similarly, knots are made for the door, the guardians of the directions, the pots, and so on. The sacred thread for the liṅgas should be as long as nine hand-lengths. From twenty-eight threads onward, the count increases by tens; the spaces between knots are two fingers, with intervals of one finger. The size of the knots should match the width of the liṅga. On the seventh or thirteenth day, after performing the daily rites in purity, the practitioner adorns the sacrificial hall in the evening with flowers and cloths, completing the occasional twilight worship and especially the offering of water. Having taken possession of the consecrated ground with the sacred thread, he worships the sun, sips water, and performs the preliminary rites. The teacher offers the praṇava and arghya. He sprinkles the doors with a weapon-mantra and worships in order from the east; at the door of peace, two guardians are honored at each entrance. At the door of withdrawal, for the one whose essence is the establishment called Kalā, two guardians are worshipped at each entrance. On the day of birth, he offers worship to Mahākāla, Bhringi, the Gaṇa, Vṛṣabha, Skanda, the goddess, Caṇḍā, and Cakramāt. Always, after passing the door guardians, he enters and worships at the western door, purifies the site, and offers a special arghya to Shiva. Following the initial sprinkling, he prepares the sacrificial materials—mantras, darbha grass, dūrvā grass, flowers, and the heart and other mantras. He forms the hand of Shiva and places it upon his own head, contemplating, “I am Shiva, the origin, the all-knowing; my sacrifice is foremost.” The teacher, holding the sword of knowledge, meditates deeply on the deity. Facing north, he approaches the southwest and casts the sword there. He sprinkles arghya water, the five products of the cow, and all else in the sacrificial pavilion, performing the proper rites at the four crossroads with careful attention. Having scattered offerings, he gathers kuśa grass and prepares a seat for them in the northeast. At the doors of the Nairṛta (southwest) and Vāstu (northwest) directions, Lakṣmī is worshipped; the pot is placed above all others, facing west. With the praṇava, he worships the deity mounted on a bull, seated on a lion—the goddess Varddhanī. Then, in the pot, he worships Śiva holding the bow, with the Varddhanī mantra. In all directions, he honors the guardians—Śakra and others—and the deities Viṣṇu, Brahmā, Śiva, and so forth, and properly invokes Varddhanī, who follows the pot and the eight guardians. The priest proclaims Śiva’s command from the east to Īśāna, uttering the root mantra with a continuous stream of water. He moves Varddhanī all around for protection, as one would wield a weapon; after placing the pot, the weapon is set to its left. He worships the deity in the pot, seated firmly on the complete seat; in the Varddhanī, at the place of praṇava, and again at the position of the weapon, between the two—thus completing the sacred installation and invoking the blessings of all the gods.