In the ancient tradition, the wise expound the sacred design of the altar, describing it as sevenfold, each division bearing its own imperishable form. The field, measuring forty hands across, is to be carefully divided in precise order. Each section is split further into seven, and then again, so that countless compartments arise—sixty-four, seven hundred, and a thousand in total—each with its own purpose. At the heart of this field lies an auspicious enclosure, its center adorned with sixteen compartments. Flanking it on each side are rows and eight more sacred enclosures, along with a smaller row, all arranged with care. Sixteen rows and an additional line create a garland of twenty-four lotuses; thirty-two more bloom in rows, with others arising from the smaller rows, forming a pattern of beauty and order. Forty rows are drawn, with three more completing the arrangement. The doors, set in the directions, add to the altar’s splendor, while the center remains untouched. For the establishment of two, four, or six doors, openings are made in the four directions; for three, five, or one, secondary doors are placed outside, enhancing the structure’s elegance. At each doorway, inside and at the sides, four spaces in the middle are cleared in pairs, creating six embellishments in all. In one direction, four divisions are made, as prescribed. In every direction, three gateways stand; at each corner, five by five compartments are arranged in rows. Thus, the sacred enclosures are formed, and the auspicious circle for the human sacrifice is established according to tradition. Nārada, the sage, then reveals the worship to be performed within this sacred space. In the central lotus, Brahma is to be worshipped in his full form. In the eastern petal, the Lotus-Naveled One is honored; in the southeast, Prakriti, and in the southern petal, Purusha. To the right of Purusha, Agni is worshipped; in the southwest, Varuna and Vayu; in the west, Aditya; in the northwest, the Rig and Yajur Vedas; and in the north, the aspect known as Ishana. In the second circle of petals, Indra and fifteen other deities are honored, along with Sama and Atharva Vedas, Akasha, Vayu, Tejas, and Jala. Earth, Mind, Ear, Skin, Eye, Tongue, and Nose are also worshipped, as are Bhur, Bhuvah, and Svah. The higher worlds—Mahar, Janas, Tapas, and Satya—are revered, along with the great sacrifices: Agnishtoma, Atiratra, Uktha, Shodashi, and Vajapeya. After worshipping Atiratra, Aptoryama is also honored, along with Mind, Intellect, Ego, Sound, Touch, and Form. Taste and Smell are worshipped in the twenty-four petals, followed by Life, the Lord of Mind, the five senses, Prakriti, and the principle of Sound. The ten forms beginning with Vasudeva are honored in order, as are Mind, Ear, Skin, Eye, and Tongue. Nose, Speech, Hands, and Feet—these thirty-two are worshipped in the lotus petals. In the fourth enclosure, those with their limbs and retinues are honored. The anus, generative organ, and the twelve lords of the months are also worshipped. In the outer enclosure, six groups beginning with Purushottama are honored. In the wheel-lotus, the lords of the months are worshipped in sequence, along with eight Prakritis, then groups of six, five, and four. The diagram is then drawn: the pericarp is colored yellow, and all the petals are white and equal in size. Each petal is the size of a thumb in two hands, and half as much in one hand, all white. The joints of the lotus are joined with white, and black or dark blue is added as desired. The filaments are colored red and yellow, the corners are filled with red, and the yogapitha is decorated with all colors as the devotee wishes. The structure is adorned with creepers, canopies, and leaves; at the entrance, white is used for beauty, red for splendor, and yellow for brightness. Blue enhances the decorations, and the corners are made white; the filling for the Bhadraka and others is prescribed in this manner. Araka seeds, dark with red lines and blackish from the red, are marked with white, black, and red lines outside, and yellow lines on the exterior. Powder from rice and similar grains is white; from safflower and the like, it is red; from turmeric, yellow; and from burnt grains, black. From śamī leaves and similar plants, the seeds are dark, their marks also dark. For mantras and vidyās, four hundred thousand is the measure; ten thousand for buddhividyās, a thousand for hymns. With one hundred thousand, the mantra and the self are purified, and with another hundred thousand, the mantra becomes established in the field. The homa of seeds is performed equally, as previously described. The prior service of mantras and related practices is said to be a tenth part; in the preliminary rite, a monthly vow is observed. The left foot is placed on the ground, and gifts are not accepted; with double or triple this effort, the middling and highest accomplishments are attained. Nārada then promises to explain the meditation on the mantra, by which the fruit of the mantra arises. The gross, sound-formed image is considered the external form. The subtle form is luminous, residing in the heart and made of thought; that which is free from thought is called the supreme. For others, the heart-based, thought-formed image is always remembered: the gross is called 'virāṭ', the subtle is 'liṅga'. The form free from thought is called divine—consciousness, the imperishable light, dwelling in the lotus of the heart. One should meditate on the seed, arising from the seed, in the form of a kadamba flower, like a lamp placed inside a pot, its flame restrained. Thus, the Lord of Mantras remains united and alone in the heart; as rays shine out from a pot with many holes, so do the rays of the mantra’s measures spread outward through the channels. In this way, the rays of the seed shine forth, assuming a divine body, and remain resplendent.