In the sacred tradition described, the installation of divine images within a temple is approached with profound reverence and meticulous care. The directions of the temple are each honored with specific deities: in the north, the ten forms beginning with Matsya are established; the southeast is graced by Caṇḍikā; Ambikā is placed in the southwest; and Sarasvatī resides in the northwest. Padmā and Īśa are installed in the northeast, while Vāsudeva, or Nārāyaṇa, occupies the central shrine. In temples with thirteen shrines, Viśvarūpa Hari is placed at the heart of the sanctum. To the east and in other directions, Keśava and his forms may be installed, or Hari himself may be honored in additional shrines. The images of these deities may be crafted from a variety of materials: clay, wood, metal, or precious jewels. Tradition speaks of seven kinds of images—those made from stone, fragrant substances, and flowers, as well as those fashioned from floral, fragrant, and clay materials. When these images are worshipped at the proper time, they bestow all desired blessings upon the devotees. The process of creating a stone image is detailed with care. If mountains are absent, the stone should be taken from the earth, and among colors, white, reddish, yellow, and black stones are considered the best. Should the proper color not be found, the Siṃha rite is performed to impart the desired hue. Certain signs on the stone are significant: a white line at the tip or a blackened tip from the Siṃha rite signals the sound of a bronze bell; a masculine stone emits sparks. A stone marked with a circle is feminine, while one lacking form is neuter. If a circle appears within the stone, it is to be avoided, as it is considered to contain a womb. For the purpose of creating the image, the devotee enters the forest to perform the forest sacrifice. After digging and smearing the site, Hari is worshipped in a pavilion. Following the offering of bali, the ritual implements—axes and similar tools—are honored. Water mixed with rice is sprinkled on the stone using a ritual instrument. Protection is invoked with the Narasimha mantra, and worship is performed with the root mantra. After making the offering, the teacher completes the oblation and offers it to the spirits. All beings present—yātudhānas, guhyakas, siddhas, and others—are honored, and their forgiveness is sought. The purpose of the journey is declared: it is undertaken for the image of Viṣṇu, by the command of Keśava. The work for Viṣṇu is extended as a blessing to all beings. Through the offering of bali, their satisfaction is ensured, and they are requested to depart peacefully, leaving the place undisturbed. Once addressed, the spirits depart, content and tranquil. The artisans, after offering cooked rice, recite the dream-mantra at night, invoking Viṣṇu, the lord of all worlds and dreams, to reveal in sleep the tasks that dwell in their hearts. They pray for auspicious dreams and, should any ill omen arise, seek its purification through the lion-offering. With the dawn, the implements—spades and axes—are taken up, their mouths anointed with honey and ghee. The artisan meditates upon himself as Viśvakarman and the tools as embodiments of Viṣṇu. Each implement is dedicated, its front, back, and parts shown reverence. The artisan, self-controlled and holding the axe, shapes the stone into four sides. The stone is then fashioned into a pedestal, slightly lower than the main image, placed on a chariot, and brought—covered with cloth—to the artisan’s workshop. After worshipping the stone, the craftsman begins to fashion the divine image. The Blessed Lord then describes the characteristics and measurements of the images of Vāsudeva and others. In the temple, these images should face east or north. After establishing and worshipping the image, and giving the bali, the central thread is drawn. The artisan divides it into nine parts, focusing on the ninth. On the stone, a portion measured by a winnowing basket is one finger-breadth; two finger-breadths form the 'kālanetra', the time-eye. Dividing one part into three, the heel is formed; likewise, one part each for the knees and neck. The crown and face should each be one tāla in length, as should the neck and heart. From navel to genitals is one tāla, the thighs are two tālas, and the shanks are also two tālas. Threads are applied for measurement: two at the foot, one at the middle of the shin; two at the knee, one at the middle of the thigh; another at the genitals, one at the waist, another at the navel for the girdle. Threads are also placed at the heart, two at the neck, one at the forehead, and one at the crown. Above the crest-jewel, a thread is placed, and seven threads are given above. Through the space between the three armpits, six threads are applied, omitting the middle thread. The forehead, nose, and mouth are each four fingers in length; the neck and ears are also four fingers long. The chin and jaw are two fingers in breadth; the forehead is eight fingers wide. The temples are two fingers wide, adorned with marks; the space between ear and eye is four fingers. The ears are two fingers broad, with the outer half measuring five fingers; the ear opening is measured by the thread of the brow. A pierced ear is six fingers, an unpierced ear is four; a pierced ear equals the jaw, an unpierced ear is also six fingers. Ornaments such as the perfume vessel, the circular ornament, and the cake are crafted. The upper lip is two fingers, the lower lip half that. The eye is half a finger, and the mouth is four fingers; in length and breadth, one and a half fingers is specified. Thus, through careful ritual, precise measurement, and heartfelt devotion, the divine images are brought forth, each detail reflecting the sacred order and the blessings bestowed by the Lord.