In the sacred process of preparing the liṅga, the elongated form is first divided into three parts, and the breadth of the auspicious mark is measured everywhere in accordance with the body of the liṅga itself. This mark, encircling the liṅga, is precisely measured: using eight out of nine parts of a barley grain, the depth and width of the auspicious line are determined by wrapping it around the hand. As the size of the liṅga increases—say, to one and a half hands—so too does the breadth and depth of the earth portion, which should be eight barleys wide and deep at the corresponding measure. This proportional increase by one-eighth continues at each increment, so that at nine hands, the earth portion maintains the same ratio. In Śaiva liṅgas, when the height is measured by the foot, the breadth of the auspicious mark is always determined by the progressive increase of barley grains. The line of the mark—both its depth and width—is crafted with a one-third increase, so that, from base to top, the liṅga maintains a subtle and harmonious form. The field of the auspicious mark is divided into eight parts. At the top, two auspicious portions are marked, with a sixth part between them, leaving two portions below. Three lines are joined at the back to form the mark, and if the liṅga is crafted of gems, the mark should be two barleys wide if made of gold. The true form of the liṅga is revealed by these marks; the radiance in gems is pure, and the opening of the eyes on the face is a sign of the divine presence. To ensure the marks and lines are perfect, they are anointed with ghee and honey and worshipped with the Mṛtyuñjaya mantra to remove any defects from the work. The liṅga is then bathed with clay and other purifying substances, the artisans are honored, and cows are given to the teachers as gifts of gratitude. The liṅga is further honored with incense and similar offerings; the wives of the master sing hymns, using a thread to the right or left, or with kuśa grass. Recalling the sacred pigment, and having offered it, cleansing and related rites are performed, and the artisans are dismissed with gifts of jaggery, salt, and grains. Accompanied by those who bear the form of the teacher, or with the heart or with the sacred praṇava, the liṅga is bathed with clay, cow dung, cow urine, ashes, and other purifying waters. A special bath is given with pañcagavya, preceded by the five nectars; further purification may be done with herbal decoctions or water from all medicinal herbs. Pure flowers, fruits, gold, gems, horns, barley water, and water from a thousand streams, as well as divine medicinal water, are used for ablution. Water from sacred places, from the Ganges, sandalwood water, water from the ocean of milk, and water from Shiva’s own vessel are also employed. The liṅga is purified and anointed with fragrant substances like sandalwood, and worshipped with Brahmins, flowers, armor, and red garments. With a red form, the waving of lights is performed, preceded by protective marks; streams of ghee, water, milk, and other offerings, indicated by kuśa grass and threads, are poured in devotion. With all materials, hymns, and other praises, the satisfied liṅga is worshipped with the Purusha mantra. After bowing with the heart to the deity, the devotee invites, “Arise, O Lord.” The deity is then swiftly brought with the Brahma chariot and its accompanying materials; in the pavilion, at the western door, the liṅga is placed upon a bed. From Śakti onwards to the end of the powers, all are arranged on an auspicious seat; at the western end of the pedestal, the Brahma stone is set in place. Weapons, missiles, the seat of a hundred reeds, the pot for sleep, and the fixed seat are all prepared; in the Shiva corner, arghya is offered with heartfelt devotion. Raising the liṅga, the head is first placed upon the designated seat; there, by the act of creation, the offspring of Dharma and others are established. Incense and worship are offered, followed by garments and armor; house offerings and food are presented with the heart, according to one’s means. A vessel mixed with ghee and honey is used for anointing the foot of the liṅga, while the teacher stands nearby, contemplating the thirty-six principles. A triple garland of flowers is arranged, from Śakti and the others up to Bhūmi, together with their respective presiding principles, thus establishing the triad. At the end of the Śakti principle, in the realm of Māyā, in a circle divided into eight parts by the directions, Śiva, known as the principle of self and knowledge, is placed in the order of creation. In each segment, the forms and formless lords—Brahmā, Viṣṇu, and Hara—are installed in order from the east and so on, as appropriate. The forms of earth, fire, sacrificer, sun, water, wind, and moon, as well as the form of space, are each assigned with their presiding deities. All—Paśupati, Ugra, Rudra, Bhava, Makheśvara, Mahādeva, and Bhīma—are invoked by their respective mantras. The syllables ‘la’, ‘va’, ‘śa’, ‘ca’, ‘ya’, and the letter ‘ha’ with its three measures, the praṇava, the hṛdaya, the aṇu, or sometimes the root mantra, are used in this sacred process. In the yoga of the five fires, five forms are placed, or alternatively, the elements—earth, water, fire, wind, and space. Their five presiding deities are assigned in order: Brahmā, Dharaṇīdhara, Rudra, Īśa, and Sadākhya, according to the principle of creation, as taught by the knower of mantras. For one seeking liberation, the principles beginning with Nivṛtti or Ajāta and their lords may be installed, or else the three principles as the cause pervading all. In the pure self, the lords of knowledge are to be seen; in the impure, the lords of the worlds, as well as the forms, bonds, enjoyers, and lords of mantras. The principles and their lords—twenty-five, then eight, five, and three—are arranged in due order, with deities such as Indra and the others, as appropriate. The mantras are chanted: “Om hāṃ, salutation to the principle of Śakti, and so on; om hāṃ, salutation to the lord of the principle of Śakti, and so on; om hāṃ, salutation to the form of earth; om hāṃ, salutation to Śiva, lord of the form of earth, and so on; om hāṃ, salutation to Brahmā, lord of the form, and so on; om hāṃ, salutation to Rudra, lord of the principle of Śiva, and so on.” From the navel root, the sound of the bell is extended forth, renouncing the causal principle beginning with Brahmā, and reaching up to the dvādaśānta, the twelfth point. The mantra, distinct in the mind and akin to the taste of attained bliss, is drawn from the dvādaśānta and merged into the formless, all-pervading Śiva. Meditating upon him, radiant with thirty-eight rays and a thousand beams, full of all powers and with all his limbs, one should install him reverently in the liṅga.