With great reverence, the ritual began by taking a clay vessel, one that brings auspiciousness, sprinkling it with water to purify it, and then placing it carefully on the altar. Once set, the sacred fire, kindled and ready, was established within this vessel. For the protection of the rite, the Brahman was positioned in the prescribed direction, while the sacrificer and all the Brahmins gathered in the east, just as Narada had been instructed. It was emphasized that the mental focus of the performer was crucial: if the mind was indifferent, the ritual would not succeed—such is the eternal rule. As for the priests, there was no strict restriction; one should worship with those who are available. The vessels used were measured with precision: the vessel for ghee was to be three fingers wide, and the one for the rice-cake, six fingers wide. The sruva, the sacred ladle, was to be six finger-widths, while the sruc, another ritual implement, was three and a half finger-widths. On the northern side of the prokṣaṇī (the vessel for sprinkling), the praṇīta vessel, measuring eight units, was placed. When the praṇīta was close at hand, it was filled with water, and after spreading darbha grass, the wise placed the vessel upon it. For purity, three cuttings of pavitra were made in the form of darbha grass. Performing the ritual in this way was said to bring supreme merit and was known as pure. Yet, it was also noted that a vessel shaped by a potter’s wheel, though made of clay, was considered asuric, or demonic. With the sruva, all rites—whether auspicious or inauspicious—were performed. But care was needed: using the sruva at the front could bring widowhood, and using it in the middle could lead to the loss of offspring. The deities associated with the ritual were invoked: Agni, Sūrya, Soma, Virin̄ci, Anila, and Yama. Each brought their own influence—Agni could cause the destruction of wealth, Sūrya could bring disease, Anila bestowed increase, and Yama was the giver of death. The sequence of vessels was also important: first, a vessel with all branches, then one with five branches. The sruva and sruc were to be made of palāśa wood, and for Brāhmaṇas, the measurements were as prescribed; for others, they were each less by a finger-width. Sprinkling the vessels was prescribed to remove visible defects, ensuring the ritual’s purity. When the vessel was filled, O Brahmana, the sacrifice reached completion. The wise knew that four full vessels were considered abundant. When the offering was made, the fire was satisfied; if not, the fire might bestow a harsh curse. In the ritual, the mouth was called prājāpatya, the waist was known by sacred utterances, and, similarly, sviṣṭakṛta was in the ear, as was pūrṇāhuti. The fire itself was envisioned as two-headed, six-eyed, tawny-colored, and possessing seven tongues. The implements—the ladle, the spoon, the rosary, and the power held in the right hand—were all part of the rite. Agni was imagined as mounted on a ram with four horns, shining brilliantly like the young sun. By knowing this sacred form of Agni, one was fit to perform the ritual of offering. Yet, it was strictly warned that one who made offerings directly with his hand committed a grave sin, akin to a Brahmin who had slain a Brahman. For those seeking the fulfillment of all desires, an abundance of sesame was prescribed for the offering. In rites of sorcery, the offering could be a sow, a deer, or a swan of auspicious nature. When offering a deer, it was to be done with the middle, ring, and thumb fingers. The priests were to offer sesame mixed with curd, honey, and ghee. In virtuous rites, kusha grass was to be attached to the ring finger. These rituals were performed for the lordship of the hosts, by Rudra and also by Brahma. Finally, for the purpose of entering his own abode, the sacrificer would see water and shaven-headed ones, marking the completion and transition of the sacred rite.