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Christ Episcopal Church and Cemetery
La Highway 1 (Between Court House Street and La Highway 1008)
Napoleonville, Louisiana
Assumption Parish
Status: National Register
Date Placed on National Register: 5/2/1977
Gothic Revival (19th Century) Architectural Style
Architect: Wills, Frank
"During the Civil War, Christ Church was used as a barracks for Union troops and then as a stable for their horses. The stained glass was used for target practice, and then fire left the Church a ruin.
An outstanding clergyman of the twentieth century was the Rev. Mr. Quincy Ewing, a
grandson of the Dr. Kittredge who gave the land for Christ Church. This brilliant, always
controversial man served as rector of Christ Church from 1906 until 1929.
The Rev. Mr. Ewing had earned the enmity of Mississippi s Negro-baiting Senator James K.Vardaman by challenging the racial status quo in his preaching there. Being forced to leave, he continued his iconoclastic battles in Alabama, denouncing the crime of lynching through the columns of The Outlook (October 1904). Far from changing his philosophical and theological views to accord more closely with those of the community, the Rev. Mr. Ewing continued to espouse his more radical views after coming to the Bayou.
In 1909 he published in the Atlantic Monthly (March, 1909, Vol., CIII, p. 393) an article entitled "The Heart of the Race Problem," which was a model of Southern dissent from prevailing views on race. The Rev. Mr. Ewing's long tenure at Christ Church may have been due to the fact that he was among family on Bayou Lafourche.
The influence, nevertheless, of such a man preaching such provocative ideas of social justice so foreign to those of his day, could not help but be felt in the small community of Napoleonville."
Quoted from an amazing site: louisianagraveyardrabbit.blogspot.com/2009/04/christ-epis...
Between Fernham and Uffington.
Quite suddenly, the light changed completely. This photograph was not taken with my camera on a different setting, and none of these pictures have had any processing at all. I don't think I have seen such dramatic clouds ever before - and whilst these photos were being taken, not a drop of rain fell.
Kintzel Ditch, a small stream, runs between these tall dunes just off of the shore of Lake Michigan. It's an easy hike from Mt. Baldy to the stream, but very difficult to follow this stream toward it's source.
HYPERBOLIC CROCHET CORAL REEF:
A WOOLLY WONDER
Created and Curated by Margaret and Christine Wertheim of the Institute For Figuring in Los Angeles
Between the 20th of March and June 11th, 2010, over 50,000 visitors came to the Science Gallery. Many came away inspired to take up crocheting, learn more about hyperbolic geometry or to explore the secret underwater world of corals.
One of the acknowledged wonders of the natural world, the Great Barrier Reef stretches along the coast of Queensland, Australia, in riotous profusion of colour and form unparalleled on our planet. But global warming and pollutants so threaten this fragile marvel it now faces devastation, along with reefs around the world. In homage to these disappearing treasures, Australian sisters Christine and Margaret Wertheim instigated a project to crochet a handmade reef, a woolly testimony that celebrates also a strange geometry realised throughout the oceanic realm.
In coral reefs we witness an endless whimsical diversity – loopy kelps, fringed anemones, crenellated corals, curlicued sponges. All these forms are variations of a mathematical structure known as hyperbolic space. Though mathematicians had long believed this space was impossible, nature has been playing with its permutations for hundreds of millions of years. In 1997, Dr Daina Taimina of Cornell University realised how to make models of this geometry using the art of crochet. Building on Dr Taimina’s techniques through elaborations of her original crochet code, the Wertheim sisters have spent the past five years developing an ever-evolving taxonomy of reef-life forms.
Tightly bunched mounds of brain coral, wavy strands of kelp, tubeworms, sea slugs and nudibranchs have all been mimicked with the twins’ techniques. Just as the diversity of living species results from variations in an underlying DNA code, so too a huge range of hyperbolic crochet ‘species’ may be brought into being through modifications in the underlying crochet code. There is an ever-evolving crochet ‘tree of life’.
Anyone who takes up these techniques can begin to develop their own woolly species and the Crochet Reef is a communal project. The community of Reef Contributors now spans the globe with participants coming from across the USA, as well as Australia, England, Ireland, Latvia and Japan. Taken as a totality, the project has become an unexpected, global, evolutionary experiment that engages people around the world.
Was bored at the departure area at Changi Ariport in Singapore so decided to take out the camera and do some abstract shots :D
Tukul between Awassa & Yir Galem, in the south of Ethiopia, not far from where I used to live / work
Before October 2021 Police Weekend 33rd Candlelight Vigil on the National Mall along Madison Drive between 9th and 12th Street, NW, Washington DC on Thursday evening, 14 October 2021 by Elvert Barnes Photography
Survivors Bus Arrivals
HONOR CORDON / SURVIVORS ARRIVAL ESCORTS
National Law Enforcement Officers Memorial & Museum OCTOBER 2021 POLICE WEEKEND at nleomf.org/memorial/programs/police-weekend-2021/
Elvert Barnes October 2021 POLICE WEEKEND DC at elvertxbarnes.com/2021-police-weekend
Elvert Barnes National Police Week Candlelight Vigil docu-project at elvertbarnes.com/NPWCandleVigil
Elvert Barnes 30th NPW 2021 docu-project at elvertxbarnes.com/2021-police-week-dc
Elvert Barnes NATIONAL POLICE WEEK docu-project at elvertbarnes.com/NationalPoliceWeek
Elvert Barnes October 2021 at elvertxbarnes.com/october-2021
Built between 1879 and 1882, this American Florentine Revival-style building was the former royal palace for the Kingdom of Hawaii, designed by Thomas J. Baker, Charles J. Wall, and Isaac Moore for King David Kalākaua. The palace was the home of the monarchs of the Kingdom of Hawaii between 1882 and 1893, the executive building of the provisional government and Republic of Hawaii from 1893 until 1898, the capitol building of the Territory of Hawaii from 1898 until 1959, and the capitol building of the State of Hawaii from 1959 until 1969. During its time as a territorial and state capitol, the building was altered and renovated, removing or neglecting several original features, enclosing parts of the lanais that encircle the building’s exterior, adding additional office space outside of the building’s original footprint, and replacing some of the original windows with french doors. The building replaced an earlier ‘Iolani Palace, a western-style structure with elements reminiscent of the Greek Revival style and Creole cottages in the United States, which stood on the same site, and was built in 1844-45. The earlier palace was an aliʻi, which featured no sleeping quarters, but included a dining room, throne room, and a reception room, being only about ⅓ the size of the present building. The previous building had similarities to the present structure, including a raised lanai wrapping around the entire structure, with a hipped roof, a doric colonnade, large windows, and separate homes on the grounds where the royal family lived and slept. By 1874, when King David Kalākaua ascended to power, the original palace, built of wood was in poor condition, and in 1879, the building was demolished and construction began on the present palace. Inspired by knowledge of European royal palaces and architecture, the palace features four corner towers and towers on the front and rear facades, which all feature mansard roofs topped with cornices and cresting, arched double-hung windows, quoins, decorative relief panels, circular medallions on the arched and circular roof dormers, and flagpoles atop each mansard roof. Between the towers and on the second and third floors of the front and rear towers are lanais on the first and second floors of each side of the building, with staircases to the entrances on the front and rear at the foot of the towers, corinthian columns supporting arches, decorative balustrades, iron railings on the second floor, large windows and door openings with decorative trim surrounds, decorative tile floors, decorative ceilings, a cornice above, and a decorative railing wrapping the base of the building’s large low-slope and hipped roof. Underneath the lanais and enclosed spaces of the second and third floors of the palace is the basement, which is surrounded by a light well, with access provided to exterior entrances on the sides of the building via staircases. Inside, the palace has a layout with large rooms on either side of a central hallway on the first and second floors, which are linked via a large grand staircase, with the first floor hallway known as the Grand Hall. On one side of the Grand Hall is the throne room, taking up the entirety of this part of the first floor, with a dressing room behind the thrones, while on the other side of the Grand Hall is the Blue Room, a reception hall, and the State Dining Room, with a bathroom, and butler’s pantry between the State Dining Room and the Grand Hall. On the second floor, the hallway features a ceiling with two decorative medallions on either side of a central stained glass dome, with the room where Queen Liliʻuokalani was imprisoned for 9 months following the second of the Wilcox rebellions in 1895 sitting on the ocean-facing side of this end of the building, with a restroom and closet between this room and the Queen’s Bedroom. All bedrooms on this floor are linked via diagonal hallways to the second floor rooms in the corner towers, which are utilized as small sitting rooms. On the opposite side of the hallway is the King’s Bedroom, King’s Office, and Music Room, as well as an additional bathroom. In the basement, the building is split by two hallways that intersect at the base of the basement stairs, running between the building’s service areas, including the kitchen, as well as administrative offices for the Kingdom of Hawaii, with most of the space now mostly housing exhibits and display cases. The interior of the building features extensive detailing and decoration that was restored after the building ceased being utilized as the State Capitol in 1969, including grand carved and reproduction staircases and balusters, decorative plaster ceilings with medallions, decorative crown moulding, carved wood doors and trim, wood floors, bathrooms with built-in water closets, sinks, bathtubs, and showers, period appropriate light fixtures, as well as period and reproduction furnishings and pieces of art that were in the building during the Kingdom of Hawaii period. The palace was designated as a National Historic Landmark in 1962, and was listed on the National Register of Historic Places in 1966. Following the completion of the Hawaii State capitol in 1969, a 9-year restoration program was carried out on the palace, with the palace opening in 1978 as a museum, run by the nonprofit organization Friends of ʻIolani Palace, that preserves the structure and tells the story of the Hawaiian Royal family who once resided and ruled from the palace, as well as allowing for visitors to admire the beautiful restored and preserved details of the interior and exterior of the building. On January 17, 1993, a vigil was held on the grounds of the palace, commemorating the 100th anniversary of the overthrow of the Kingdom of Hawaii by a group consisting of primarily white American businessmen, deposing the monarchy that had ruled the kingdom from 1795 until 1893. The grounds of the palace features restored landscaping intended to show what the palace looked like at the time of its completion, and the relocated ‘Iolani Barracks that once stood on the present site of the present state capitol, which now sits to the northeast of the main palace. The building is the only former royal Palace in the United States, and sits in the middle of park-like grounds surrounded by state, federal, and local government buildings in the heart of Downtown Honolulu.
Informal portrait of blonde haired Inga with a cigarette in-between shoots
Studio Shoot all rights reserved copyright Najm Clayton
Victor Roman: Between Two Points
September 9th – October 4th , 2014
Opening Reception with Live Music by Viva Apollo: Saturday, September 13, 2014 from 6-10pm
ArtHatch and Distinction Gallery are excited to present a debut solo exhibition featuring the art of Victor Roman. This exhibit will showcase Roman’s most current paintings focusing on figurative subjects presented with a mix of classical perspective and urban technique. The Opening Reception will be held on Saturday, September 13, 2014 from 6-10pm with Live Music by Viva Apollo. Roman will be in attendance at the Opening Reception to meet, greet, and answer questions. Local artists within the ArtHatch building will have their studios open to the public as well. Complimentary Stone beer and wine will be served to guests.
Victor Roman's passion for expressing himself through art motivates him to sketch and paint whenever he can. Sometimes, you can find him sketching people on the train or in a casino but on most days, you will find him painting in his studio until the early hours of the morning. Painting in the night after work, shows dedication and after 3 years of study at Palomar College, Victor's talent has grown exponentially. The emotions that his art evoke have developed in complexity and because of this, the viewer must think twice about what they are looking at to figure out their own interpretation of his art. Art pieces include depictions of artillery, child soldiers and portraits of mankind in various states of mind. The art is masterfully painted on wood, a feat accomplished by few artists. Victor draws from life with swift and graceful movements, to witness this phenomenon for yourself just stop by his studio in the ArtHatch building. He will be happy to turn up the bass for you on his sound system or play a timeless record on his record player.
The exhibition will run from September 9th – October 4th, 2014
ArtHatch is a 7000 square foot building which houses the front gallery: exhibitions changing monthly, "The Alley," featuring new and previous works from over 75 artists, the teen room featuring artwork by 15+ teen artists, 14 artist studios, ranging in size from 150 to 800 square feet, featuring the work of over 28 local artists, and "The Lounge", containing 8 walls featuring local artists. The front gallery features contemporary and cutting edge artwork.
ArtHatch
317 East Grand Avenue
Escondido, CA 92025
(760) 781-5779
Built between 1922 and 1924, the Gothic Revival-style red brick St. John Catholic Church was designed by St. Louis-based firm Ludewig & Dreisoerner for the St. John Catholic Church congregation, the third-oldest catholic congregation in Covington, formed in 1854 and originally located at the corner of Worth Street and Leonard Street in Lewisburg. The site was purchased by the congregation in 1908 following the slumping of the hillside under the previous church, which made it structurally unsound. In 1913-1914, the adjacent Colonial Revival and Gothic Revival-style building that now houses the Prince of Peace Catholic School, originally the St. John Parochial School, was constructed on Pike Street to house the congregation, including a large auditorium with seating for 600 on the first floor, which temporarily housed church services, classrooms, a pastor's apartment, and rooms for the nuns of the parish convent. In 1922, the rectory was built to the rear of the school in the Flemish Revival style, and features a jerkinhead (clipped gable) roof, two one-story bay windows flanking the central entry, and a gable parapet with a large finial that announces the extensively trimmed door below. Following a successful fundraising campaign, ground was broken for the current church on Pike Street next to the school in 1922, and it was completed and dedicated in 1924. The church measures 64 feet wide by 163 feet long, with a 163-foot-tall steeple that rises high over Pike Street. The exterior of the church features more restrained ornament and trim crafted from limestone, which incorporates many gothic motifs and sculptural elements, and an irregularly-shaped base with several wings housing smaller rooms surrounding the base of the church. Inside the church, there is a carved wooden ceiling, hand-carved marble altars from Italy, frescoes painted by local artist Nino L. Passalacqua in 1960, and many stained glass windows crafted by Dr. Oidtmann of Linnich, Germany. During the early-to-mid-20th Century, as the suburbs to the south and west of the parish continued to grow, it initially saw an increase in attendance, being slowed when St. Agnes Parish was split off and constructed in Fort Wright in 1930. In the 1960s, the parish began to see a decline in attendance at both the church and school, as Catholics left the surrounding neighborhood and moved to the suburbs, leading to the consolidation in 1986 of St. John School with St. Ann School in Botany Hills, Mother of God School in Mutter Gottes, and the St. Boniface School and St. James School in nearby Ludlow, Kentucky, forming the Prince of Peace School, staffed by the Sisters of Notre Dame, whom had ran the St. John School from its inception, as well as teachers who were not nuns. As the demographics of the area continued to shift, St. Ann Church in nearby Botany Hills ceased operating as a parish, and became a mission church of St. John in 1999. The St. John Catholic Parish buildings are contributing structures in the Lewisburg Historic District, listed on the National Register of Historic Places in 1993.
Thurso, over the other side of the bay, taken between stored fishing gear.
Scrabster Harbour, Caithness, Scotland.
History
During the Reformation, over and over again in Hannover there had been riots between Old Believers and Lutherans. When they escalated in 1533, fled on 14 September of the same year the mayor and almost all councilors in the neighboring Catholic Hildesheim. Died the Catholic life in Hannover, especially since the city council in 1588 the Catholics also deprived the right to live in the old town.
As 1665 Duke Johann Friedrich ascended the ducal throne of Hanover, the situation changed since Johann Friedrich four years earlier at a visit to Assisi converted to the Catholic faith. Court staff, most of all French and Italians, formed the small Catholic community and celebrated Christmas 1665 under the direction of Valerio Maccioni - his epitaph is situated in the crypt of the Basilica - the first Catholic worship after the Reformation. On December 28, 1679 Johann Friedrich died, his younger brother Ernst August took over the government. Although he changed the right of public worship for Catholics in a private right and had the castle church for there until then celebrated Catholic worship closed, nevertheless he promised freedom of religion, allowing the construction of a Catholic Church.
Meanwhile was - outside the city walls of Hanover, "before the gate Aegidientore" - on a part of the local "Father garden" from 1669 the Catholic St. John's cemetery laid out. It is said only four years later in 1673 to be consecrated and named after its ducal founder.
Knitting installation of wool on the cupola, 2014
The repeatedly-delayed church construction, however, then the Italian priest, composer and diplomat Agostino Steffani brought forward. Steffani had entered 1688 as Court conductor the service of Ernst August. 1707 he received episcopal ordination in Bamberg and in April 1709 the Vicariate of Upper and Lower Saxony to him was transferred.
Steffani transferred to his compatriot Tommaso Giusti planning and construction management of the new church. Giusti designed a Venetian dome flanked by two towers. To dome and towers eventually had to be renounced for lack of finances. Patron of the first post-Reformation Church of Hanover was the namesake of the then reigning Pope, St. Clement of Rome. Background: Pope Clement XI had commited himself in a special way for the construction of the church and collected money for its financing.
After the destructions caused by the bombings on Hannover in World War II, the church was according to designs of architect Otto Fiederling 1947-1957 rebuilt (for almost 1.7 million deutschmarks). Only now, the originally planned dome and the stocky bell towers were completed in modern forms. Preparatory work began yet in 1946, and on November 23, 1949 the topping-out ceremony could be celebrated. On November 24, 1957 St Clement was consecrated by the then apostolic nuncio Aloysius Muench. On 12 March 1998, Pope John Paul II the church with the Apostolic Letter Inter sacras raised to the rank of a minor basilica.
1967-1986 was Auxiliary Bishop Heinrich Pachowiak Episcopal Vicar at St Clement. His successor as provost was to 1996 Joop Bergsma.
Since 1 September 2010, the Basilica belongs to the parish of St Henry (Heinrich).
Geschichte
Während der Reformation war es auch in Hannover immer wieder zu Unruhen zwischen Altgläubigen und Lutheranern gekommen. Als sie 1533 eskalierten, flohen am 14. September des gleichen Jahres die Bürgermeister und fast alle Ratsherren in das benachbarte katholische Hildesheim. Das katholische Leben in Hannover erstarb, zumal der Rat der Stadt 1588 den Katholiken auch das Wohnrecht in der Altstadt entzog.
Als 1665 Herzog Johann Friedrich den Herzogsthron in Hannover bestieg, änderte sich die Situation; denn Johann Friedrich war vier Jahre zuvor bei einem Besuch in Assisi zum katholischen Glauben übergetreten. Bedienstete des Hofes, vor allem Franzosen und Italiener, bildeten die kleine katholische Gemeinde und feierten Weihnachten 1665 unter Leitung von Valerio Maccioni – sein Epitaph befindet sich in der Krypta der Basilika – den ersten katholischen Gottesdienst nach der Reformation. Am 28. Dezember 1679 starb Johann Friedrich, sein jüngerer Bruder Ernst August übernahm die Regierung. Zwar wandelte er das Recht der öffentlichen Religionsausübung für die Katholiken in ein privates Recht und ließ die Schlosskirche für den dort bis dahin gefeierten katholischen Gottesdienst schließen. Trotzdem versprach er freie Religionsausübung und erlaubte den Bau einer katholischen Kirche.
Unterdessen war – außerhalb der Stadtbefestigung Hannovers, „vor dem Aegidientore“ – auf einem Teil des dortigen „Patergartens“ ab 1669 der katholische St.-Johannis-Friedhof angelegt worden. Er soll erst vier Jahre später 1673 geweiht und nach seinem herzoglichen Stifter benannt worden sein.
Strickinstallation aus Wolle auf der Kuppel, 2014
Den immer wieder hinausgezögerten Kirchenbau hingegen brachte dann der italienische Priester, Komponist und Diplomat Agostino Steffani voran. Steffani war 1688 als Hofkapellmeister in den Dienst von Ernst August getreten. 1707 empfing er in Bamberg die Bischofsweihe und im April 1709 wurde ihm das Vikariat von Ober- und Niedersachsen übertragen.
Steffani übertrug seinem Landsmann Tommaso Giusti Planung und Bauleitung der neuen Kirche. Giusti entwarf einen venezianischen Kuppelbau mit zwei flankierenden Türmen. Auf Kuppel und Türme musste schließlich mangels Finanzen verzichtet werden. Namenspatron der ersten nachreformatorischen Kirche Hannovers wurde der Namenspatron des damals regierenden Papstes, der heilige Clemens Romanus. Hintergrund: Papst Clemens XI. hatte sich in besonderer Weise für den Bau der Kirche eingesetzt und für ihre Finanzierung Geld gesammelt.
Nach den Zerstörungen durch die Luftangriffe auf Hannover im Zweiten Weltkrieg wurde die Kirche nach Plänen des Architekten Otto Fiederling von 1947 bis 1957 wieder aufgebaut (für knapp 1,7 Millionen Mark). Erst jetzt wurden die ursprünglich geplante Kuppel und die gedrungenen Glockentürme in modernen Formen ergänzt. Vorbereitende Arbeiten begannen bereits 1946, und am 23. November 1949 konnte Richtfest gefeiert werden. Am 24. November 1957 wurde St. Clemens durch den damaligen Apostolischen Nuntius Aloysius Muench geweiht. Am 12. März 1998 erhob Papst Johannes Paul II. die Kirche mit dem Apostolischen Schreiben Inter sacras zur Basilica minor.
1967 bis 1986 war Weihbischof Heinrich Pachowiak Bischofsvikar an St. Clemens. Sein Nachfolger als Propst war bis 1996 Joop Bergsma.
Seit dem 1. September 2010 gehört die Basilika zur Pfarrgemeinde St. Heinrich.
de.wikipedia.org/wiki/St._Clemens_(Hannover)
The harbor between Burrard Bridge and Granville Bridge, as seen from Creekside Park.
11-photo panorama, equirectangular projection. All photos taken at 18mm, ƒ8, 1/640 shutter. FOV: horizontal 216°, vertical 52.2°. Stitched with Hugin 2010.0.0. The full-size panorama is 7683 × 1629 (12.5 MPx).
Be sure to view the largest size.
Bain News Service,, publisher.
J.H. Brady
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Photo shows James Henry Brady (1862-1918), who served as the Governor of Idaho from 1909 to 1911 and as Senator from 1913 to 1918. (Source: Flickr Commons project, 2008)
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.12359
Call Number: LC-B2- 2617-12
We needed a stop between Burgas and Istanbul, so we choose Babaeski because we had a response from a couch surfer there. The response mentioned something about receiving a plaque from the mayor for our efforts to get there, but we all thought it was a joke referring to how small the city was. Little did we know, when we arrived we were escorted to the hotel that we would be staying at while we were here- curtsey of the mayor! There were then three men who acted as our guides and followed us everywhere, even if they had to wait for hours in the hotel lobby while we took a nap and washed our clothes. They took us to eat traditional Turkish food, arranged a concert for us, and got us a page in the local newspaper. On our last day, we met the vise mayor and actually did receive a plaque of the city! And because the layout of the mayor’s office had an indoor balcony at every level (and because we are the balcony players) we had to give a concert on the balcony which everyone came out of their offices to watch!
Don't use this image on websites,blogs or other media, without my explicit permission.
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1. "Between the Years" or "The Shaman has to wait for the new Year ...", 2. "Between the Years" or "The Shaman has to wait for the new Year ...", 3. "Between the Years" or "The Shaman has to wait for the new Year ...", 4. "Between the Years" or "The Shaman has to wait for the new Year ..."
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|| View On Black || "Central Relatedness"or "RedPixel" or "Tat Tvam Asi" or "Αα" ||
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Each year is a new book ... a new beginning ... the pages of the book are still unwritten ... each blank page is a new beginning ... at the end of the year 2011 ... all sides will be described ... let us write a good book! It is a magical book! It is our life !!
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Between Pottuvil and Arugam Bay towards the sea side there is a small temple called Muhudu Maha Viharaya. This temple was also used to be known as Samudra Maha Vihara. The location marks the place at which Vihara Maha Devi set foot in the Ruhuna Kingdom. The temple site has three statues; the central statue is of the Buddha with the other two probably from the royal family.
The temple is believed to have been built in the 5th century A.D during the reign of King Dhathusena. A popular belief is that the two figures worshipping the Buddha are King Kavantissa and his Queen Vihara Maha Devi.