The wise sages gathered to hear the sacred instructions on the construction of a temple and the installation of the deity. The guidelines were precise, for every detail was to honor the divine. The gateway, they learned, should be built a foot lower than the temple itself, maintaining a sense of ascent toward the sanctum. For a deity whose image measured five hastas in height, the pedestal must be one hasta tall, ensuring proper proportion and reverence. Before the main pavilion, a special Garuḍa-maṇḍapa was to be erected, along with a terrestrial abode. For the image of the deity, eight representations were to be placed above, one in each direction, surrounding the sanctum with divine presence. In the east, the Boar incarnation should be placed; in the south, the Man-Lion; Śrīdhara in the water; and in the north, Hayagrīva. The southeast was to be guarded by the son of Jamadagni, the southwest by Rāma, the northwest by Vāmana, and the west by Vāsudeva. In the northeast, the arrangement was to include the Vasus, Ādityas, and other celestial beings. The Blessed Lord then spoke, saying, “O Brāhmaṇa, the deities must be installed in the temple according to tradition. Listen as I reveal the proper order. In the center of a five-shrine arrangement, Vāsudeva should be enshrined. Around him, Vāmana in the southeast, Narahari in the southwest, Aśvaśīrṣa in the northwest, and Śūkara in the domain of Īśa. Alternatively, in the center, Nārāyaṇa may be placed, with Ambikā in the southeast, Bhāskara in the southwest, Brahmā in the northwest, and the Liṅga in the northeast. For a nine-shrine configuration, Vāsudeva remains in the center, with the other shrines extending to the east and beyond. The guardians of the worlds, beginning with Indra, may also be honored in these shrines, always keeping the Supreme Person at the heart of the temple. Lakṣmī and Vaiśravaṇa are to be placed in the east, the Mothers in the south, and Skanda, Gaṇeśa, Īśāna, Sūrya, and the planets in the west. In the north, the ten incarnations beginning with Matsya are to be honored. Caṇḍikā is to be installed in the southeast, Ambikā in the southwest, and Sarasvatī in the northwest. Padmā and Īśa are to be in the northeast, with Vāsudeva or Nārāyaṇa in the center. In a thirteen-shrine temple, Viśvarūpa Hari should occupy the central place, surrounded by Keśava and others in the cardinal directions, or by Hari himself in each shrine. The image of the deity may be crafted from various materials: clay, wood, metal, jewel, stone, fragrant substances, or even flowers. Each type is considered sacred, and when worshipped at the proper time, grants all desired blessings. The Lord then explained the making of a stone image and the proper place to obtain the stone. If mountains were not available, the stone should be taken from the ground, with the best colors being white, reddish, yellow, or black. If a suitable color could not be found, the Siṃha rite would impart the desired hue. The stone’s qualities were to be carefully examined: a white line at the tip or a black tip from the Siṃha rite, the sound it made, and whether it emitted sparks, all revealed its suitability. Marks of a circle indicated femininity, while a formless stone was neuter. A circle within the stone was to be avoided, as it signified a womb. To prepare for the image, one was to go to the forest and perform the forest sacrifice. After digging and smearing the site, Hari was to be worshipped in the pavilion. The offering of bali was made, and then the ritual tools—axes and the like—were worshipped. The stone was sprinkled with water mixed with rice, using a special instrument. Protection was invoked with the Narasimha mantra, followed by worship with the root mantra. The teacher then offered a complete oblation, including offerings to the spirits. All beings present—yātudhānas, guhyakas, siddhas, and others—were to be honored and asked for forgiveness, stating: “This journey is for the image of Viṣṇu, undertaken by the command of Keśava. May all work for Viṣṇu also be for your benefit. By this offering, may you be pleased and peacefully depart from this place.” Satisfied, the beings would depart, and the artisans, after offering cooked rice, would recite the dream-mantra at night: “Om, obeisance to Viṣṇu, lord of all worlds, the all-pervading, the universal form, obeisance to the lord of dreams. O Lord of gods, as I lie asleep before you, reveal to me in a dream all the tasks that dwell in my heart. Om om hrum phat, svāhā to Viṣṇu; may all be auspicious in an auspicious dream, and any inauspiciousness be purified by the lion-offering.” With dreams thus sanctified, the artisans would take up their implements—spades and axes—anointing their mouths with honey and ghee. Meditating on themselves as Viṣṇu and the artisan as Viśvakarman, they would dedicate each tool as embodying Viṣṇu, displaying its front, back, and other parts. The self-controlled artisan, holding the axe, would shape the stone into a four-sided form. The pedestal was fashioned slightly lower, and the stone was placed on a chariot, covered with cloth, and brought to the workshop. After proper worship, the craftsman would begin to fashion the image. The Blessed Lord further instructed: the images of Vāsudeva and others should face east or north within the temple. After establishing and worshipping the image, and giving the bali, the central thread was to be drawn, dividing it into nine parts and focusing on the ninth. Measurements were exact: on the stone, a portion the size of a winnowing basket was one finger-breadth, and a sphere of two finger-breadths was called the ‘kālanetra’ or ‘time-eye.’ Dividing one part into three, the heel portion was formed; one part each for the knees and the neck. The crown, face, neck, and heart were each to be one tāla in length. From the navel to the genitals was one tāla; the thighs, two tālas; the shanks, two tālas as well. Threads were to be applied at the foot, the middle of the shin, the knee, and the middle of the thigh. Additional threads marked the genitals, the waist for the girdle, and the navel, ensuring the proportions were perfect and the image worthy of divine presence. Thus, with precise devotion and careful ritual, the temple and its images would be prepared, sanctified, and brought to life, becoming a fitting abode for the Lord and all the deities.