In the east, the sacred trees—aśvattha, plakṣa, and banyan—stand together, joined by the udumbara. These trees, when worshipped, are said to remove obstacles from both palace and home, ensuring auspiciousness and protection for those who dwell within. Thus concludes the forty-sixth chapter of the glorious Garuda Mahapurana, in its first section, the Purva-khanda, within the conduct portion, known as “The Characteristics of Vastu Measurement.” Now, Shaunaka, listen as I describe the characteristics of palaces. The ideal palace should be quadrangular in shape, with four doors, reflecting the number of the sun. The structure’s thigh—its supporting portion—should be equal to the upper field, and half the thigh should be twice as much. The building may be divided into three or, alternatively, five parts. The summit is to be split into four sections, while the altar enclosure is to be constructed in three parts. Another method is to make the base level and divide it into sixteen equal parts. The height of the walls should measure one fourth of the total height. The summit, rising above, should be twice the measured height of the walls. In all four directions, the exits must be carefully considered by the wise, with one part allotted for the exit, planned accordingly. This, in general terms, is the description of the characteristics of a palace. The perimeter, Shaunaka, should be twice the measure all around, without fail. The summit’s height is again said to be twice that of the leg. The exit has been explained; the remaining features should follow the previous instructions. The tip should resemble the altar, and the door ought to be one eighth part of the whole. At the center of the pedestal, as with the door, the rest should be hollow. The leg’s breadth should be equal, and the summit should be twice as high. These are the measurements for the pavilion; let me now describe another form. With these measurements, the outer portion of the palace is determined. The inner chamber should be made twice as large, its measurement taken by the rim. Now I will explain the proportions and origins of palaces. There are five types, including Triviṣṭapa, each arising from various origins. One palace is circular, another elongated, and a fifth is octagonal in shape. From all the fundamental elements, there are said to be forty distinct forms. Among these are palaces called Bhadraka, Sarvata, Bhadra, Rucaka, and Nandana. The quadrangular types are known as Vairāja. In addition, there are forms such as the vimāna, Brahma-temple, and mansion. Other shapes include the bracelet, the drum, the lotus, and the great lotus. There is the guvā tree form, and another circular type originating from Kailāsa. Further types are Bhūmukha, Bhūdhara, Śrījaya, and Pṛthivīdhara. Some are named after weapons and symbols, such as the thunderbolt, the discus, Muṣṭika, and Vabhrusaṃjñita. There is also Vijaya, white in color, said to arise from Triviṣṭipa. Wherever it may be built, the form of the pavilion should be established with care. From the sequence beginning with the triangle, the attainment of sons, women, and prosperity is said to come. The pavilion may be multiplied by equal numbers, as is the measuring cord. It may be furnished with windows or, if desired, left without them. In some cases, the pavilion should be made twice the size of the wall, and it may be adorned with irregular lines where there is disproportion in measurement. Thus are the forms, proportions, and auspicious arrangements for palaces and pavilions described, preserving harmony, prosperity, and the blessings of the sacred science of Vastu.