After the offering of bali is completed, the practitioner turns his attention to the ritual implements—axes and other tools essential for the sacred work. With reverence, he worships these implements, acknowledging their role in the divine process. Then, he prepares a special offering and, using a ritual instrument, sprinkles the chosen stone with water mixed with rice, sanctifying it for what is to come. To ensure protection, the Narasimha mantra is invoked, enveloping the proceedings in divine safeguarding. The root mantra is then used for worship, and further offerings are made. The teacher, as the guide in this sacred act, ensures that the full oblation is given, not only to the manifest deities but also to the spirits and subtle beings present. All beings who may gather—yātudhānas, guhyakas, siddhas, and others—are honored with due respect. Their presence is acknowledged, and forgiveness is humbly sought from them for any disturbance this ritual might cause. The practitioners explain, “This journey of ours is undertaken for the image of Viṣṇu, at the command of Keśava. Whatever service is rendered to Viṣṇu, may it also be pleasing to you.” With the offering of bali, they pray, “May you be satisfied in every way by this act. Kindly depart in peace, swiftly and without distress, to other realms.” Thus addressed, the assembled beings, now content and at ease, take their leave. When night falls, the artisans, having offered the cooked rice, recite the sacred dream-mantra. With devotion, they chant, “Om, obeisance to Viṣṇu, lord of all worlds, all-pervading, the universal form—obeisance to the lord of dreams.” The artisan, lying down to rest, prays, “O Lord of gods, as I sleep before you, reveal to me in my dreams all the tasks and concerns that dwell in my heart.” They further invoke, “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.” At dawn, the implements—spades, axes, and others—are taken up, their mouths ritually anointed with honey and ghee. The artisan meditates on himself as Viṣṇu, and on the craftsman as Viśvakarman, the divine architect. Each tool is dedicated as an embodiment of Viṣṇu, its front, back, and all parts shown reverence. The self-controlled artisan, axe in hand, then begins to shape the stone, making it four-sided. The stone, now prepared as the pedestal, is fashioned slightly lower than the main image. It is placed upon a chariot, covered with cloth, and brought to the artisan’s workshop. After further worship, the craftsman commences the sacred task of fashioning the image. At this point, the Blessed Lord speaks: “I shall describe to you the characteristics of the images of Vāsudeva and others. In the temple, these images should face east or north. Once established, worshipped, and offered bali, the central thread is to be drawn and divided into nine parts, with special focus on the ninth part.” The Lord continues, “On the stone, the area measured by a winnowing basket is one finger-breadth. A sphere of two finger-breadths is called the ‘kālanetra’—the time-eye. Divide one part into three to form the heel, another for the knees, and one for the neck.” “The crown should measure one tāla in length, as should the face, neck, and heart. From the navel to the genitals is one tāla, the thighs are two tālas, and the shanks are also two tālas. Listen carefully to these measurements.” “Two threads are to be applied at the foot, another at the middle of the shin, two at the knee, and another at the middle of the thigh. Place another thread at the genitals, another at the waist, and another at the navel for the proper fastening of the girdle. A thread should also be placed at the heart, two at the neck, one at the forehead, and another at the crown of the head. Above the crest-jewel, place one thread, and above that, seven more threads.” “Through the space between the three armpits, six threads are applied, omitting the middle one. The other threads are presented as prescribed.” “The forehead, nose, and mouth are each four fingers in length. The neck and ears are also four fingers long. The chin and the width of the jaw are each two fingers, while the forehead is eight fingers wide. The temples are two fingers wide and adorned with marks; the space between the ear and the eye is four fingers.” “The ears themselves are two fingers broad, and the outer half of the ear measures five fingers. The ear opening aligns with the thread of the brow. A pierced ear should be six fingers, an unpierced ear four fingers; both are equal to the jaw, and an unpierced ear is also six fingers.” “The perfume vessel, circular ornament, and cake should be crafted accordingly. The upper lip should be two fingers, the lower lip half that. The eye is half a finger, and the mouth four fingers; in both length and breadth, one and a half fingers. A closed mouth is thus, but an open mouth is considered two fingers. At the root of the nasal ridge, one finger is measured.” “The projection at the tip of the nose is two fingers, resembling the oleander flower. The space between the eyes should be four fingers, measured obliquely. The corner of the eye is two fingers, and the space between the corners is also two fingers. The pupil is a fifth part of the eye, divided into three parts. The width of the eye is three fingers, and the socket is half a finger. The lines of the brows match this measure, and the brows themselves are equal.” “The space between the brows is two fingers, and the length of the brow is four fingers. The circumference of the head is thirty-six fingers. For images from Keśava onward, the circumference is thirty-two fingers. For those with five eyes and a fierce neck, the circumference is again measured in breadth.” “The neck should be three times its width, measuring eight finger-widths in length. The space between the neck and chest is measured likewise. The shoulders are eight finger-widths, with three divisions and auspicious marks. The arms have seven joints, and the forearms are sixteen finger-widths.” “The arms should have three divisions in width, and the forearms the same. Above the arm-stem, the circumference is nine divisions. At the middle of the forearm, the circumference is sixteen finger-widths, and at the palm, it is twelve finger-widths.” Thus, the Lord reveals the precise, sacred proportions for the crafting of the divine image, ensuring that every measure, every line, and every mark is in harmony with the divine form, so that the image becomes a true vessel for the presence of the Lord.