The Lord said:
1. Ishall now describe the five divisions of an installation. The image is the embodiment of the supreme being, the real principle, the pedestal is the symbol of nature or the Goddess Lakshmi. The installation is the union of the two.
2-3. Hence, the installation is done by men who desire to have their wishes fulfilled. The officiating priest (has to ar range)sheds (measuring) eight, sixteen or twenty (cubits) in front of the temple for bathing, the pitchers, and things required for the sacrifice by extending the side lines of the adytum.
4. The auspicious sacrificial platformshould be made ready with one third (or) half (of the above space). Itshould be decked with pitchers big and small and canopies etc.
5. All the materials (to be used in the rite)should be cleansed with pañchagavya (the five things extracted from a cow). The priestshould adorn (himself with ornaments). Having contemplated his own self as (lord) Vishņu, heshould begin worship.
6. The expert idol-worshippersshould be established in front of each pit (intended for the rite). (Theyshould be endowed) with rings, bracelets and other things.
7. Logs of the pippala, udumbara, vata trees (should be planted) at the doorways of the place for the sake of arches. The place may be quadrangular, semi-circular, circular or lotusshaped.
8. Log of the fig treeshould adorn the east, of the subhadra the south, of the sukarma and suhotra the northern and western doorways respectively.
9. The pitchers having young sprouts of mango treesshould be placed five cubits apart at the foot of each one of the supporting columns of the arches and be worshipped with the sacred syllables syond pruthivi1.
1. "RV. 1.22.15.
10. The sudarsana (disc of Vishņu)should be placed at the top. A wise man has to make the banner five cubits long.
11-12. Itshould be made sixteen fingers broad. O excellent among the celestials! the heightshould be seventeen çubits in the alternative. The pitshould be duly reddish, flame-coloured, black, white, yellow, deep red, white and (again) white.
13-15. The presiding deities of the banners (hoisted) in the (quarters) east etc., such as Kumuda, Kumudåkhsha, Puņdarika, Vamana, Sankarshaņa, Sarvanetra, Sumukha and Supratishthita, who are endowed with countless (divine) qualitiesshould be worshipped. One hundred and eight pitchers resembling the ripe bimba fruit (in colour), not having black spots and having been filled with water and gold and having pieces of cloth around their necksshould be placed outside the arches.
16. Pitchersshould be placed at the east and other directions. Four pitchersshould be placed at the corners of the sacrificial altar with the sacred syllable ajighra.
17. After having invoked Indra and others in the pitchers in the east etc. oneshould worship (Indra). O Indra, the lord of celestials, the wielder of thunderbolt, seated on the elephant you come.
18. (You) protect the eastern door in the company of celestials. May salutations be to you. After having worshipped (Indra) with the sacred syllable tratram indra1, the wise manshould invoke him.
1. RV. 6.47.11.
19. O Agni! endowed with a trident, seated on a goat and possessing strength (you) come and accept my worship. You protect the south-east in the company of celestials. Salutations to you.
20-21. Oneshould worship Agni with the sacred syllable agnir mūrddha2. Salutations to Agni. O Yama! seated on the buffalo, wielding the mace, and possessing great strength (you) come. You protect the southern gate. O Yama! salutations to you. Yamashould be propitiated with the sacred syllable vaivasvatam sangamanam3.
2. RV. 8.44.16. 3. RV. 10.14.1.
22-24. O Nairfta! carrying a sword accompanied by an army and riding an animal, (you) come. Here is the offering and water for washing the feet. You guard the south-western direction. Menshould worship with the sacred syllable eshate nirrte1 and with offerings. O Varuņa! riding the crocodile, holding the noose and possessing great strength (you) come and protect the western doorway. Salutations to you. The preceptorshould worship with (the sacred syllable) urum hi raja varunan and offerings.
25-27. O Väyu! endowed with strength, holding the banner, together with a vehicle you come. You guard the north-western direction in the company of celestials and Maruts (groups of celestial gods). Salutations to you. Heshould be worshipped with (the sacred syllables) våta2 etc. or with 'Om! Salutations to Väyu'. O Soma! you come with strength, wielding the mace and riding the vehicle. You protect the northern gate along with Kubera. Salutations to you. Oneshould worship with (the sacred syllable) somam rajdnam or 'Salutations to Soma'.
1. Oneshould do (the ceremony) of taking possession of 1. VS. 9.95.
2. RV. 10.186.1.
28-30. O Iśhåna! (you) come along! possesser of strength, riding the bull. You guard the north-eastern direction of the ritual pavilion. Salutations to you. Heshould be worshipped with the sacred syllable). Išhānamasya3 'Salutations to Isäna'. O Brahman! (you) come. Seated on a swan! Carrying the sacrificial vessel and ladle! You defend the direction above the sacrificial place, O unborn! Salutations to you. (One)should worship with (the sacred syllable) hiranya garbha or 'Salutations to Brahman'.
3. RV. 7.32.22.
31. O Ananta! you come. Endowed with the disc! Seated on the tortoise! Lord of the gañas. You protect the bottom (of the sacrificial place). O Lord Ananta! Salutations to you. Oneshould worship with (the sacred syllable) 'Salutations to serpent' or 'Salutations to Ananta'.
Summary of chapter 56 of the Agni Purāṇa is as follows:
This chapter addresses the examination, purification, and ritual qualification of a newly made divine image before its consecration. The śilpin (sculptor) and the ācārya must together examine the image for defects — incorrect proportions, cracks, improper posture, missing attributes, asymmetrical limbs — and only a flawless image may proceed to installation. Specific tests are described: an image placed in water must float with its face upward; one buried in grain overnight must show auspicious signs upon exhumation. The purification of the image through successive baths in sacred waters, application of herbal pastes, fumigation with specific resins, and the recitation of mantras over it are detailed. The chapter affirms that the purification of the image is simultaneously the purification of the space it will inhabit, and that a properly examined and purified image truly becomes a dwelling of the divine.