Upon the majestic Meru, the greatest of palaces, there rise a hundred peaks, each resplendent and unique. Their forms and measurements vary—some clearly defined, others subtle and indistinct—creating a wondrous and diverse panorama. Among these peaks, temples of many shapes emerge, their designs shaped by the distinctive coverings that crown them. Each temple is fashioned in its own special way to honor the particular deities for whom it is intended. In constructing these sacred abodes, one must follow the ancient measurements prescribed by tradition. The temples should be adorned with moon-chambers and crowned with bheri-towers, their beauty and grandeur befitting the divine. At the entrance, a grand theater hall should be built, welcoming devotees as they approach. Principal doorkeepers, carefully crafted, are to be placed at every gateway, standing watch over the sacred precincts. A covered terrace must also be constructed, lovingly decorated with an abundance of fruits, flowers, and water. This entire house is dedicated to Vāsudeva, the Lord of all, the supreme enjoyer of every offering. Having described the divine dwellings, the sacred text now turns to the installation of the deities themselves. The process is to be explained briefly, yet with clarity. Together with the priests, a teacher who resides in the central region should be chosen to guide the rite. With five or more participants, the offering of water for washing the feet and the arghya must be performed, honoring the sacred guests. The teacher, having invoked and placed the mantras, initiates the ceremony. The sacrificial pavilion is to be constructed twelve cubits in size, supported by sixteen pillars. Sand for the ritual should be brought from the confluence or bank of a sacred river. Beginning from the east, five fire-pits are to be built, their flames kindled as the śānti rite is performed. With the consecration of fire, all desires and aims find fulfillment. Some choose to anoint the auspicious ground in the northeast, marking it as sacred. Posts from six trees—nyagrodha, udumbara, aśvattha, bilva, pālāśa, and khadira—are to be buried, one in each of the four cardinal directions, establishing the ritual space. In the west, a vessel named Gopatir is to be placed; in the north, the Suraśārdūla vessel. The second vessel is set in the south with the mantra ‘īṣetveti,’ and the fourth in the north with ‘śanno devī.’ In the southwest, the vessel should be dark like Kṛṣṇa; in the northwest, dusky or dark-grey. The vessel in the north should be red, and its flag should be white. With the mantra ‘āgniṃ saṃsuptim’ and ‘yamonāga,’ another vessel is placed in the south. After consecrating with ‘vāta’ and then with ‘āpyāyasva,’ a vessel is set in the north. Two vessels each are to be placed near the gateways, adorned with abundant flowers and canopies, and consecrated with the primary colors. With the Indra-protecting mantra ‘trātāram indra’ and ‘agnir mūrdhā,’ additional vessels are placed, followed by the seventh vessel, set with the mantras ‘kiñcid adhātu’ and ‘ācatvā’bhitvā.’ In the northwest, offerings for the fire are prepared, along with all necessary implements. Through the act of being seen and inspected, all ritual substances are purified beyond doubt. This careful placement of the weapon (astra) is prescribed for all, ensuring that every desire may be fulfilled. Each vessel brought into the sacrificial pavilion should be touched with a cloth, beginning from the direction of Śākra and proceeding to the domain of Īśāna. With fragrant substances and the arghya vessel, the teacher places the group of mantras, sanctifying the space. For the particular deity being installed, the vessel bearing that deity’s name is placed with reverence. Alongside it, the pot, the vessel of growth, the planetary influences, and the lord of the dwelling are established. A special pot, its neck bound with a thread, filled with precious jewels and wrapped in a pair of cloths, is set in place—completing the sacred preparations for the divine presence to dwell among mortals.