The Club of St. Anthony of Deussua is more than 140 years old. It was established in 1880. In 1980, the club celebrated its centenary year under the ownership and management of the Catholic community in Deussua. Some photographs of the centenary event are displayed in the reception hall.
The association of the club with Deussua village, South Goa district, is evident in the wrought iron gates where Deussua is written in large metal letters, along with Club of St. Anthony.
A small figure of St. Anthony and a photograph of the incorruptible body of St. Francis Xavier displayed at the Basilica of Bom Jesus at Velha Goa are displayed on the wall of the chapel. St. Anthony was the patron saint of Padua and was venerated in Portugal and the colonies of the Portuguese Empire. St. Francis Xavier, though born in Xavier, Spain, became a Catholic missionary working for the Portuguese Empire, spreading Catholicism in India, Malacca, China, and Japan. Both are venerated as saints among Catholics in Goa, which for 450 years was part of the former Portuguese Empire.
The Club of St. Anthony Deussua is located at 351A PD’Mello Road, Mazagaon. The building is not visible from the road, except for the uppermost floor. It is approached through a narrow entrance located between shops facing PD’Mello Road. The road is named after Placid D'Mello (1919–1958), a trade union leader and founder of the All India Port and Dock Workers Federation.
Kudd is a dormitory-style club that provides affordable accommodation to Goan residents living and working in Mumbai. From 1960 onwards, after the integration of Goa with India, outward migration from Goa has considerably declined. Dwindling occupancy impacted the operation of kudds. Many kudds closed or were repurposed. Among the handful of operational kudds is the Club of St. Anthony in Mazagaon.
A small shrine, possibly a newer construction, is placed off-centred to the right facing the garbhagriha. Further steps lead to the third level, on a projected platform. Pieces from the temple have been repurposed in this shrine. The structure has arched openings on the west, east, and north sides with a rectangular entrance inside an arched niche (seen here) on the south side.
Couples invoking shringara rasa (associated with romance, love and attractiveness between lovers) are framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. The central figures are wearing heavy jewellery, elaborate headgear, and garments, indicating they are a royal couple. A central male figure is seated in the lalitasana pose on a raised seat, looking towards the central female figure seated on his left thigh, who is playing a stringed musical instrument. The female figure is also in the lalitasana pose and her right foot is resting on a footrest. Her body is slightly raised towards her left compared to the man. Hence, she is looking down towards the man. Below her left leg is a figure of a male attendant. The central male figure is forcefully pulling a female attendant (holding a hand fan) towards him with his right hand. Behind the fan-holding female is a figure (face missing) wielding a sword.
A male figure surrounded by dancers and musicians is framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. Their faces are defaced. The male figure is wearing a necklace with a pendant and other heavy jewellery. He sports an elaborate coiffure tied with a band in front, indicating he may be a royal figure. A central male figure is seated in the lalitasana pose on a circular raised seat, in the company of musicians and dancers. Two female dancers are balancing themselves on big drums on either side of the male figure. Small figures of musicians are holding the base of the drums. The one on the left is playing the flute. Four small figures appear at the top, playing cymbals, two on either side of the male figure. The cymbal players are suspended from trees in the background, very close to the female dancers.
Couples invoking shringara rasa (associated with romance, love and attractiveness between lovers) are framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. The central figures are wearing heavy jewellery, elaborate headgear, and garments, indicating they are a royal couple. The central male figure is seated on a raised circular seat in the lalitasana pose, firing an arrow from a bow. Standing on his left are two female figures (faces defaced), looking towards him. The female on his immediate left is holding a flower in her right hand. The female to his far left is holding a floral scroll. The female figure on his right is damaged. A bunch of mangoes hang above them. Mangoes are symbols of kama or sexual desire. Therefore, it could possibly be a depiction of Kamadeva (Hindu God of erotic love, pleasure, and desire) and the females may be apsaras (celestial nymphs) or his consort, Goddess Rati.
A small shrine, possibly a newer construction, is placed off-centred to the right facing the garbhagriha. Further steps lead to the third level, on a projected platform. Pieces from the temple have been repurposed in this shrine. Inside view of the small mandapa in front of the mahamandapa. The structure has arched openings on the west, east, and north (seen here) sides with a rectangular entrance inside an arched niche on the south side. A Shiva lingam made in black stone is installed inside with a Nandi figure next to it. An earthen pot is installed on a tripod which drips water over the Shiva lingam.