At the end of the nineteenth century, when the sanctuary suffered deep works of remodeling, almost all chapels were altered, as well as its sculptural sets, except for the chapels of the last supper, Horto and Resurrection.

Bom Jesus, not counting the basilica, consists of ninetal chapels irregularly by the slope of this mount (formerly denominated from Santa Cruz) and linked to themselves by graceful and monumental stairs. Fourteen Capels closes the steps, the course and the scenes of the passion and death represented by sculptural groups and the last five related to the glorious life and the triumph of the resurrection. Due to the various reconstructions and enlargements the order of the chapels is not accurate taking into account, obviously, the logical order of the painful pathway.

After passing the porch, the slurry of the staircase are marked by chapels that represent episodes of Christ's life and passion. Figures, almost in natural size, are given with naive realism and pronounced dramatic intention.

In the initial haul of the staircase are the first quadrangular chapels of the via-sac, with covers to four waters, having access by arc portal back perfect and torn, on the side facades, by glasses. The first is the chapel of the last supper, represents the Cenacle, dated from the beginning of the eighteenth century, from the south side, of square plant and pipula-shaped quadrangular pyramid. It also houses the sculptures of the primitive figurative and sports, pending the cornice, the coat of arms of its founder D. Rodrigo de Moura Teles.

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