Once the sacred preparations were complete, the devotee began by offering incense, lighting lamps, and presenting cooked offerings. With reverence, the fire was kindled, and, as before, Śiva was worshipped with devotion. Into the sacred fire, oblations were poured, accompanied by the proper mantras, as an offering to Lord Śiva. When all auspicious signs of place and time were confirmed, and to dispel any inauspicious omens, the master of mantras performed a homa, making a full and auspicious offering. Again, as previously described, cooked food was prepared and offered at each fire-pit. The sacrificers, adorned in their ritual attire, proceeded to the bathing pavilion, ready for the next stage of worship. There, the Lord’s image was placed upon an auspicious seat. Following tradition, the image was gently struck and then covered, and a ritual bath was given, using clay and saffron-infused water. The bathing continued in sequence: first with cow urine, then with cow dung, followed by pure water, sacred ashes, fragrant waters, and water empowered by protective mantras. The teacher, together with the images, underwent ritual purification, covering the images with a yellow garment sanctified by the recitation of dharma-mantras. After worshipping with white flowers, the teacher led the images to the northern altar, where seats and beds were provided and arranged with care. Next, with a thread anointed in saffron, the teacher marked sacred divisions and, using a golden stick, inscribed the eyes of the image according to the prescribed ritual. Collyrium was applied to the eyes, and, following the sacred procedure, the skilled artist lifted the auspicious mark with the proper instrument. The proportions of the auspicious mark were established according to tradition: whether from one-third, one-half, half of a quarter, or even half of that, to fulfill all desires. In the elongated portion of the liṅga, divided in three as described, the breadth of the auspicious mark was measured everywhere in accordance with the liṅga’s body. Using eight parts of barley out of nine, the line of the auspicious mark was measured around the hand, both in depth and width. By increasing these measures by one-eighth, a liṅga of one and a half hands in height would have its base—called “the earth”—eight barleys wide and deep at the hand, and the same at nine hands. Thus, in Śaiva liṅgas, when measured by the foot, the breadth of the auspicious mark was determined by the increase of barley grains. The line was made by increasing one-third in both depth and width, ensuring the liṅga from base to top was subtle in form. In the field of the auspicious mark, divided into eight parts, at the top, two auspicious portions were placed, with a sixth part in between, and two portions left below. Three lines were joined at the back to make the mark; if the liṅga was made of a gem, and the mark of gold, it should be two barleys wide. The true form of the liṅga was revealed by these marks, and the radiance of gems was considered pure. The opening of the eyes on the face signified the presence of the deity. To extract and perfect the marks and lines, ghee and honey were used, and the Mṛtyuñjaya mantra was chanted to remove defects in the workmanship. After bathing the liṅga with clay and other substances, the artisans were honored, and cows were given to the teachers as gifts. The liṅga was then honored with incense and similar offerings, while the wives of the master sang, using a thread—either to the right or left—or with kuśa grass. Remembering the pigment, it was offered, and cleansing and related rites were performed. With gifts of jaggery, salt, and grains, the participants were respectfully dismissed. Then, together with those bearing the form of the teacher, or with the heart or with the praṇava, clay, cow dung, cow urine, ashes, and other sacred waters were used for further purification. A bath was given with pañcagavya, preceded by the five nectars; purification could also be done with herbal decoctions or water from all medicinal herbs. The liṅga was bathed with pure flowers, fruits, gold, gems, horns, barley water, water from a thousand streams, and divine medicinal water. Water from sacred places, the Ganges, sandalwood water, water from the ocean of milk, and water from the vessel of Śiva were all used to purify and anoint the liṅga with fragrant substances like sandalwood. Worship was offered with Brahmins, flowers, armor, and red garments. With a red form, the waving of lights was performed, preceded by protective marks, and streams of ghee, water, milk, and offerings marked with kuśa grass and threads were poured. Using materials, hymns, and praises, the satisfied liṅga was worshipped with the Purusha mantra. After bowing deeply to the deity with the heart, the call was made: “Arise, O Lord.” The deity was then quickly brought forth on the Brahma chariot, along with all its materials, and placed upon a bed in the pavilion at the western door. From Śakti onwards to the end of the powers, all were arranged on an auspicious seat, and at the western end of the pedestal, the Brahma stone was placed. Weapons, missiles, the seat of a hundred reeds, the pot for sleep, and the fixed seat were all prepared. In the corner dedicated to Śiva, arghya was offered with heartfelt devotion. The liṅga was raised, and its head was placed first upon the designated seat. There, through sacred creation, the offspring of Dharma and other divine beings were installed. Incense and worship were offered, then garments and armor. House offerings and food were given with devotion, according to one’s ability. A vessel of ghee and honey was prepared for anointing the foot of the liṅga, while the teacher gathered and invoked the thirty-six principles. A triple garland of flowers was arranged, from Śakti and others up to Bhūmi, each with their presiding principles, thus establishing the sacred triad. At the end of the Śakti principle, in the realm of Māyā, within a circle divided into eight by the directions, Śiva—the principle of self and knowledge—was placed in the order of creation. Individually, in each segment, the forms and formless lords—Brahmā, Viṣṇu, and Hara—were placed in order from the east and so forth, as appropriate. The forms of earth, fire, sacrificer, sun, water, wind, moon, and space, along with their respective presiding deities, were all assigned their proper places, thus completing the sacred installation and worship of the liṅga.