In the sacred tradition, the construction of a temple is described with precise and reverent detail. The path for circumambulation around the temple is set to be a quarter of the tower’s measure, and the mukha-maṇḍapa—the entrance pavilion in front—is also to be a fourth of the tower’s size. The exits for the chariot halls should equal one-eighth of the inner chamber, and the three chariot halls themselves must be proportioned to the perimeter. Alternatively, the exit may be a third of that measure, but always, three platforms are to be established for the three chariot halls. For the tower, four threads are laid down as the foundation, and above the parrot-nose feature, a transverse thread is placed. At half the tower’s height, a lion is to be fashioned, with the parrot-noses fixed at the central joints. On the opposite side, a thread is similarly placed, and above it, an altar is constructed, complete with a neck and an arc reminiscent of the mind’s curve. The altar must not be made with broken or deformed shoulders. Above this altar, a finial is fashioned, carefully measured to match the altar. The doorway is to be twice as wide as the prescribed measure, and above it, an auspicious branch of udumbara wood is placed. At the fourth part of the doorway, the figures of Caṇḍa and Pracaṇḍa are made, along with two staffs like those of Viṣvaksena. 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 is built to match this proportion. The gateway is constructed to be a foot lower than the temple itself. For a deity measuring five hastas, the pedestal should be one hasta. In front of the pavilion, a Garuḍa-maṇḍapa and a terrestrial abode are made, and for the image, eight shrines are placed above, one in each direction. In the east, 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, Rāma; in the northwest, Vāmana; in the west, Vāsudeva. In the northeast, the arrangement includes Vasus, Ādityas, and others. The Blessed Lord then instructs: Deities are to be installed within the temple, and in the center of the five-shrine arrangement, Vāsudeva is enshrined. Vāmana, Narahari, Aśvaśīrṣa, and Śūkara are placed in the southeast, southwest, northwest, and the domain of Īśa, respectively. 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, Rudra may be placed, or in a nine-shrine arrangement, Vāsudeva occupies the center, with the leftmost and rightmost shrines in the east and so forth. The guardians of the worlds, starting with Indra, are installed, or the five-shrine arrangement is made with the Supreme Person in the center. Lakṣmī and Vaiśravaṇa are placed in the east, the Mothers in the south, Skanda, Gaṇeśa, Īśāna, Sūrya, and others, as well as the planets, in the west. In the north are the ten forms beginning with Matsya; Caṇḍikā in the southeast; Ambikā in the southwest; Sarasvatī in the northwest. Padmā and Īśa reside in the northeast, with Vāsudeva or Nārāyaṇa in the center. In a thirteen-shrine temple, Viśvarūpa Hari is placed at the center, and in the east and so on, Keśava and others, or Hari himself, are installed in other shrines. The images may be crafted from clay, wood, metal, or jewel, and are said to be of seven kinds: stone, fragrant substance, floral, and clay. When worshipped at the proper time, these images grant all desired results. The Lord then describes the stone image, explaining where the stone is to be found. If there are no mountains, stone is taken from the earth, with white, reddish, yellow, and black as the best colors. If a suitable stone cannot be found, the Siṃha rite is performed to impart the desired color. If the stone has a white line at the tip or a black tip due to the Siṃha rite, it emits the sound of a bronze bell; a masculine stone emits sparks, a stone marked with a circle is feminine, and a formless stone is neuter. If a circle is seen within the stone, it is avoided as it indicates a womb. For the purpose of making the image, one goes to the forest and performs the forest sacrifice. After digging and smearing, Hari is worshipped in the pavilion. The bali offering is made, and the ritual implements such as axes are worshipped. An offering is then made, and the stone is sprinkled with water mixed with rice using a ritual instrument. Protection is performed with the Narasimha mantra, and worship is done with the root mantra. After an offering, the teacher gives the complete oblation and offerings to spirits. All beings present—yātudhānas, guhyakas, siddhas, and others—are honored, and their forgiveness is sought. The purpose of this journey is for the image of Viṣṇu, undertaken at the command of Keśava, and whatever work is for Viṣṇu is also for them. By this offering, all are pleased and depart in peace. The artisans, having offered cooked rice, recite the dream-mantra at night: “Om, obeisance to Viṣṇu, lord of all worlds, all-pervading, universal form, lord of dreams. O Lord of gods, I am lying asleep before you; in my dream, reveal all the tasks that dwell in my heart. Om om hrum phat, svāhā to Viṣṇu; in an auspicious dream, may all be auspicious, and in an inauspicious one, let it be purified by the lion-offering.” The implements—spades, axes, and the like—are anointed with honey and ghee. The artisan meditates on himself as Viṣṇu, and the craftsman as Viśvakarman, preparing for the sacred work ahead.