Listen now to the sacred guidelines for the creation and adornment of divine images, as well as the holy forms of the Shalagrama, as spoken by the Blessed Lord. First, the proportions of the image are carefully measured. Its circumference is set at three times its length, and the feet are laid out according to the span of the hand, known as the tala. The feet, rising from the base, are to be four finger-widths high. Just before the ankle, the measurement is again four finger-widths. The width of the feet is divided into three sections, and the heel itself is to be three finger-widths wide. The toes are crafted with precision: the big toe and the index toe are each five finger-widths long, while each of the remaining toes is made slightly shorter, each less by one-eighth than the one before. The upper nail of the thumb is fashioned to be one and a quarter finger-widths, and the thumb’s nail itself is no larger than a barley grain. For the other digits, each succeeding part is made half a finger-width less than the previous. The testicles are crafted to be three finger-widths, and the penis four finger-widths in length. The tip of the scrotum is to be four finger-widths, and the testicles are to have a circumference of six finger-widths. Once the form is shaped, it is to be adorned with fitting ornaments, reflecting the features and beauty witnessed in the world. In this way, the image is brought to life, following the divine characteristics. The right hand of the image holds a discus, and below it, a lotus. The left hand bears a conch and a mace, in accordance with the auspicious marks of the dark-clad Vāsudeva. Alongside, Śrī and Puṣṭi are fashioned, one holding a lotus, the other a vīṇā. Their thighs are raised in length, and they are accompanied by garland-bearers and those who hold knowledge. These two divine companions are placed within a radiant circle, adorned with brilliance and ornaments as splendid as those of elephants. The foot-rest beneath them is shaped like a lotus, and thus the images are completed. Now, hear the words of the Blessed Lord regarding the pedestal. The pedestal is to match the image in length, its height is half the image, and its width is measured in four or sixty units, as appropriate. Two rows are left below and above, and the inner part is carefully smoothed on both sides all around. Again, leaving two rows above and below the chamber, the inner surfaces are made equal on both sides. In the middle of these, four parts are smoothed, and the two upper rows are divided into four, as the wise proceed. The belt of the pedestal is made as one part, with its hollow half that size. Care is taken to make both sides equal, leaving part by part. One foot is given externally, and at the front, an outlet for water is provided, divided into three sections. This auspicious pedestal may be made in various ways, but for Lakṣmī and for female images, it is to be eight tālas in height. The features of the image are further refined: the eyebrows are made slightly longer, the nose a little shorter, and the face is more rounded above, avoiding any transverse openings. The eyes are elongated, measured as three parts of barley in length, and their width is half that. The attachment for the ears is made larger, equal to the jawline, and the lips are gently curved, simple and artless. The neck is one and a half kalās, adorned with its proper breadth. Apart from the eyes, the thighs, knees, and pedestal are fashioned in width to suit the form. The backs of the ankles, hips, and waist are arranged fittingly. The fingers are made in seven parts, with the length diminished by the span. If there is but one eye, the thighs, knees, and waist are described in the same manner. The middle sides are rounded and dense, and the pair of breasts are full, each the size of a palm. The waist is slightly more than half a unit. All remaining marks are as described before. On the right hand, a lotus is placed; on the left, a bael fruit. On both sides, auspicious yak-tail whisks are held. The nose is long, the chin heavy, and the limbs are marked with the sacred wheel. The Lord then describes the sacred forms of the Shalagrama, which bestow both worldly enjoyment and liberation. Vasudeva is dark at the entrance, fixed in stone, and marked with two wheels. Sankarshana, also with two wheels, is excellent and red. Pradyumna is subtle-wheeled, with many holes, blue and long. Pita is Niruddha, marked with a lotus, round, and bearing two or three lines. Krishna Narayana is raised at the navel, with a cavity and elongated in shape. Parameshthi is distinguished by a lotus wheel, a hole on the back, and a dot. Vishnu is dark, with a thick wheel, and in the center a line shaped like a mace. Narasimha is tawny, with a thick wheel and five dots; Varaha is marked with a spear symbol, and if the wheels are uneven, it is deemed inauspicious. A form resembling sapphire, thick and adorned with three lines, is auspicious. Kurma is raised on the back, with a whirlpool mark, and is dark in color. Hayagriva bears a goad-like mark, is blue, and has dots. Vaikuntha has one wheel, is lotus-like, gem-like, and has a tail line. Matsya is long, with three dots, and shines with a glass-like color. Shyama Trivikrama is round, with a line on the right side. Vamana is round, very short, blue, and dotted; Shyama Trivikrama also has a right-side line and a dot on the left. Ananta takes the form of a serpent coil, with many marks and varied forms. Damodara is thick, with a central wheel and a subtle dot at the entrance. Sudarshana has one wheel; Lakshmi Narayana has two; Chitrakra, also called Achyuta or Trivikrama, has three wheels. Janardana is marked by four wheels; Vasudeva by five; Pradyumna by six, and Sankarshana by seven. Purushottama has eight wheels, Navavyuha has nine, Dashavatara ten, and Aniruddha eleven. The twelvefold form is marked by twelve wheels, and above these is Ananta, so described. The Blessed Lord then declares: “I grant you the success of worships marked by wheels, beginning with the Shalagrama. The worship of Hari is threefold: that which is based on desire, that which is without desire, and that which is mixed.” Thus, the sacred characteristics and forms are revealed, guiding the devotee in both the creation of images and the worship of the Supreme.