In the heart of the sacred site, the wise are instructed to construct a structure with iron, dividing it into four parts at the center. Around this, twelve sections form the walls, carefully arranged for balance and harmony. The lower wall’s height is to be one-fourth of its length, and the platform above should rise twice as high as that wall. Encircling the platform, a path for circumambulation is made, its width a quarter of the platform’s measure, with equal passages on both sides to allow for movement. At the front, an extension is built, matching the width of the threshold—or, if deemed more beautiful, it may be twice as wide. Before the pavilion, two garbha-threads stretch across its breadth, and the length is extended by a foot, adorned with central pillars for grace and strength. Alternatively, a mukha-maṇḍapa may be constructed, its dimensions reflecting the inner chamber, or the pavilion itself may span eighty-one feet, with the maṇḍapa beginning at the rear. In the eastern doorway, offerings are made to the gods at the ends of the feet, and likewise, thirty-two deities are honored at the ends of the enclosure. This forms the general characteristic of a temple. Now, another type is described, measured either by the image within or by its own proportions. Here, the pedestal is crafted according to the image’s size; the inner chamber is half the pedestal’s measure, and the walls match the chamber’s dimensions. The height is determined by the wall’s measurement, and the tower above should be twice the length of the shadow cast by the wall. The path for circumambulation is a quarter of the tower’s measure, and the mukha-maṇḍapa in front is likewise a fourth of the tower’s size. The exit for the chariot halls is one-eighth the size of the inner chamber, and three chariot halls are constructed in proportion to the perimeter. Alternatively, the exit may be a third of that size, and three platforms are always established for the three chariot halls. For the tower, four threads are laid down, and above the parrot-nose, a transverse thread is placed. At half the tower’s height, a lion is fashioned, and the parrot-noses are fixed at the central joints. On the opposite side, another thread is placed in the same manner, and above it, an altar is built with a neck and a graceful, mind-like arc. The altar must not have broken shoulders or deformities; above it, a finial is crafted, matching the altar’s measure. The doorway is made twice as wide as its measure, and above it is placed an auspicious branch of udumbara wood. At the fourth part of the doorway, the figures of Caṇḍa and Pracaṇḍa are installed, along with two staffs like Viṣvaksena’s, and above the finial, Śrī is placed upon the udumbara branch. At the fourth part of the temple, a beautiful form—adorned with lotuses and bathed by jars held by the guardian elephants of the directions—is established, and the enclosure wall’s height is set in proportion. The gateway stands a foot lower than the temple itself; for a deity of five hastas, the pedestal is one hasta high. Before the pavilion, a Garuḍa-maṇḍapa and a terrestrial abode are created, and for the image, eight are made above, one in each direction. In the east is the Boar; in the south, the Man-Lion; Śrīdhara resides in the water; in the north, Hayagrīva; in the southeast, the son of Jamadagni. In the southwest is Rāma; in the northwest, Vāmana; in the west, Vāsudeva; and in the northeast, the arrangement includes Vasus, Ādityas, and others. Then the Blessed Lord spoke: “The deities should be installed in the temple. Listen, O Brāhmaṇa, as I reveal the arrangement. In the center of the five-shrine layout, Vāsudeva is enshrined. Vāmana, Narahari, Aśvaśīrṣa, and Śūkara are placed in the southeast, southwest, northwest, and the domain of Īśa, respectively. Next, Nārāyaṇa is installed in the center, Ambikā in the southeast, Bhāskara in the southwest, Brahmā in the northwest, and the Liṅga in the northeast. Alternatively, the form of Rudra may be installed, or in the nine-shrine arrangement, Vāsudeva occupies the center, with the leftmost and rightmost shrines in the east and so on. The guardians of the worlds, beginning with Indra, can be placed, or the five-shrine arrangement may be used, with the Supreme Person at the center. Lakṣmī and Vaiśravaṇa are in the east, the Mothers in the south, Skanda, Gaṇeśa, Īśāna, Sūrya and others, and the planets in the west. In the north, the ten forms beginning with Matsya; in the southeast, Caṇḍikā; in the southwest, Ambikā; and in the northwest, Sarasvatī. Padmā and Īśa are placed in the northeast, with Vāsudeva or Nārāyaṇa in the center. In a thirteen-shrine temple, Viśvarūpa Hari is placed at the center, with Keśava and others in the east and so on, or Hari himself in other shrines. The image may be made of clay, wood, metal, or jewel. There are seven kinds of images: stone, fragrant substance, floral, and clay, each suited for worship. When worshipped at the proper time, these grant all desired results. Now, the stone image is described, and the source of the stone is revealed. If there are no mountains, a stone is taken from the ground; the best colors are white, reddish, yellow, or black. If a stone of the desired color cannot be found, the Siṃha rite is performed to impart the proper hue. If the stone has a white line at the tip or a black tip from the Siṃha rite, it produces the sound of a bronze bell; if masculine, it emits sparks. If it bears the mark of a circle, it is feminine; if it lacks form, it is neuter. If a circle is seen within, it must be avoided as it contains a womb. For the purpose of making the image, one goes to the forest and performs the forest sacrifice. There, after digging and smearing the site, Hari is worshipped in the pavilion, following the sacred instructions for temple construction and consecration.