In the ancient teachings, the proper making and reverence of weapons and sacred objects are described with great care. The standard for crafting bows is established: the grip should be placed in the middle, using materials that suit the purpose and the wielder’s stature, with less elaborate forms for those of middling or lower type. The horn tip of the bow, small and neatly covered with skin, must be shaped elegantly—like a woman’s eyebrow—and expertly fitted, especially in bows made of horn and iron. O Brahmin, iron bows may be forged separately or blended with other materials. Such a bow should be adorned with golden dots, reflecting its appropriateness and beauty. Bows that are crooked, split, or perforated are not praised. Instead, bows are fashioned from gold, silver, copper, or black iron—each known for their own qualities. The finest bows may also be made from buffalo horn, śārabha horn, or horse horn, or from woods such as sandalwood, cane, sāl, or the white aṅgaku tree. Yet, the very best bow is said to be made from bamboo grown at home and harvested in the autumn season. This bow, revered above all, is to be worshipped with sword-mantras—chants that enchant the three worlds. As for arrows, whether they are made of iron, bamboo, or other materials, they should always be straight, golden in color, bound with sinew, and well-feathered. The best arrows have golden feathers, are oiled and well-prepared. Before embarking on a journey or during consecration, offerings must be made to the arrowheads, honoring their sacred purpose. The king himself should perform worship with banners, weapons, and annual offerings, just as Brahmā once did on the summit of Meru and the banks of the heavenly Ganges. In those ancient times, Brahmā beheld the iron demon who threatened to obstruct the sacrifice. As he pondered this obstacle, a mighty man arose from the sacrificial fire. The gods, delighted, bowed to the Unborn One, welcoming him with reverence. From this being, the sword Nandaka—proclaimed by the gods—was taken up by Hari (Viṣṇu). Slowly, the god grasped the sword; as he drew it forth, it appeared blue in hue with a jeweled hilt, and the hundred-armed one arose. In battle, the iron demon drove the gods away with his mace, but Viṣṇu, wielding Nandaka, cut the demon’s limbs upon the earth. Struck by the sword, the demon’s limbs fell and became iron. Having slain the demon, Hari granted him a boon: he gave him a pure and auspicious body so that he would become a weapon on earth. By Hari’s favor, even Brahmā—now unobstructed—was able to worship Hari, the Lord, with sacrifice. Now, the sixfold characteristics of swords are described. Those born from the anvil and hammer, pleasing to behold, are considered auspicious. Swords that are sharp and able to cut the body are called 'Ārṣika,' strong and arising from the sūrpāraka region. Swords from Vaṅga are sharp and able to withstand cutting, and those from the Aṅga region are also renowned for their sharpness. The best sword is one and a half fingers in width; half that is middling, and anything less should not be worn. The finest sword is long and emits a sweet sound, like the jingling of bells—its bearing is said to be excellent. A sword with a tip shaped like a lotus petal or a circle is praised, as is one with the appearance of an oleander leaf, the fragrance of clarified butter, and the radiance of the sky. Auspicious swords have even marks of finger-length; uneven marks, or colors like those of a cuckoo or owl, are not desirable. One should never look at one’s face in a sword, nor touch the blade when impure. Its price or origin should not be mentioned at night, nor should it be placed upon the head. Agni then speaks of the characteristics of gems, which are to be worn by men: diamond, emerald, ruby, sapphire, and pearl. Other precious stones include indranīla, great sapphire, cat’s eye, topaz, moonstone, sunstone, crystal, and pulaka. There are also karketana, pushparāga, jyotīrasa, crystal, royal cloth, and auspicious royal metal. Saugandhika, ganja, conch, Brahma metal, gomeda, rudhirākṣa, and bhallātaka are also known. Further, there are dust, emerald, tuttha, sesame, pīlu, coral, and mountain diamond. The serpent-gem and the excellent diamond-gem are praised, as are ṭiṭṭibha, piṇḍa, bhrāmara, and utpala. Jewels adorned with gold, such as Śrī and Jaya, possess inner brilliance, purity, and excellent form. Impure, dull, broken, or gravel-filled gems are not to be worn; the best are those fit for setting in a vajra. A true vajra passes through water, is unbreakable, flawless, six-angled, rainbow-like, light, radiant like the sun, and auspicious. It shines like the bright half of the moon, smooth, lustrous, pure, and adorned with fine, gold-dust-like emerald dots. Padmarāga gems born of crystal are vividly colored and extremely pure, while Jātavaṅga gems arise from the Kuruvinda stone. Pearls produced from fragrant sources are reddish; those from shells are the best among the pure, and pearls from conch are superior. Pearls from elephant tusks, pots, boars, and fish are excellent; those from bamboo and snakes are the best, with the serpent’s pearl being supreme. Agni then describes the marks of the Vāstu-puruṣa and the many types for Brāhmaṇas and others: white, red, yellow, and black, in that order. The land itself should be abundant in the fragrance of ghee, blood, food, and liquor, and possess sweet, astringent, and sour tastes, each suitable in its own way. A site covered with kuśa grass, reeds, sky, or dūrvā grass is to be chosen. After honoring the Brāhmaṇas, the site, previously excavated, should be prepared. Sixty-four squares are made, and Brahmā is placed in the center as a fourfold division. In the east, the lord of the house is assigned, along with Aryaman; to the south is Vivasvat, to the west is Mitra, to the north is Mahīdhara, and Āpavat and Vahviga are placed at the corners. Thus, the sacred traditions of weapons, gems, and the very ground upon which one builds are established, each detail sanctified by the wisdom of the ancients and the blessings of the gods.