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It was not possible for any sculptor in the world to re-create the expression in Shri Nathji’s eyes. Veervati discovered that soon enough. Her pride in her art became humbled. At one point she thought that she would never be able to re-construct Shri Nathji’s divine features in clay. However just as she was about to give up, a sudden power entered her heart and soul, and a new skill came into her hands that was not her own – it was as if someone else were sculpting the statue through her.
After sometime the lady said: “A strange thing is happening. I am trying to give the face a serious expression, but a smile is forcing itself upon the features! It is as if someone else’s hand is moulding the clay! I am afraid I must give up!
No, said Shri Nathji, continue your efforts–but let him make the statue whose statue you are making! You be the instru­ment through whom He is sculpting!
When the statue was complete, Veervati could hardly believe her eyes. The work was so fascinating that she had never seen a statue so beautiful in her entire life. There was Shri Nathji’s Persian Verse that described his own face, and now the statue before him:

Chehraye zebaaye to
Rashke butaane Aazari

The Beauty of Thy Face
Fills with envy the statues of Aazari

Veervati took the statue to her house to fill in the colours. By that time her faith in Shri Nathji had become so intense that a feeling of reverence and awe had devel­oped in her for the statue she had made. She took the statue home in a procession with a band in attendance.
Shri brought it back to Shri Nathji’s place after filling in the colour. The achkan was shown in grey and there was a beautiful orange head bandanna or kerchief on Shri Nathji’s head. It was the Viraat Roop of Shri Nathji, and, strangely enough there was a glow on the features which was not of this world and which did not come from the colour alone.
Later, when she was offered money for her work, she refused and said: I have been paid enough. The making of this statue was reward enough!
And she gave the statue, free of cost, to Shri Nathji, who later had it brought to Mussoorie.
There was one Fee, however, which Veervati desired: that Shri Nathji eat a phulka-chappaati, cooked by her hands. This desire remained unfulfilled, because Shri Nathji had to return to Mussoorie.
The striking resemblance of the statue with Shri Nathji caused Shri Nathji to remark in a light vein: My importance has lessened, now that there is a second Nath!
At the time that the statue was about to be brought to Mussoorie some scratches came upon its surface. When Veervati was informed about the scratches she rushed over, and soon re-touched the statue.
She later wrote to Shri Nathji:
“O Dev Moorti -Image of God- Shri Nathji! You are Brahmswaroop, the incarnation of God, come down upon earth for the salvation of mankind!
“Thou art the Almighty Formless, Niraakaar, come into this beautiful Saakaar, physical form!
“It was my good fortune that I was given the service of making Thy statue. But Thou made the statue Thyself using my hand and gave the credit to me.
Some scratches had come upon the statue – but I have removed them.
“Half of my life is in that statue. Meri aadhi jaan iss statute ke andar hai!”
When the statue was ultimately brought to Mussoorie it was kept in a glass case at Shri Nathji’s house, St. Andrews, in his drawing room. The glass case was covered with a cloth when no one was in the house.
Smt. Veeran Devi, the elder sister of Mateshwari entered the drawing room and was startled by a voice that came from the statue:
Masiji, I am suffocating! For how long are you going to keep me covered like this?”

“Masiji, meraa dam ghutaa jaa rahaa hai!”

Veeran Devi was terrified and also filled with instinctive awe and reverence for the statue. It was alive. The statue vibrated with the living presence of Shri Nathji.