Between a vegetable canopy, leafous trees and a verdant raming that intercepts the rays of sunshine, the third brazoned chapel appears, of eighth plant, where the betrayal of Judas and the imprisonment of Christ stages.
In 1788, the Calvário mountain hill, represented inside of this chapel was rebuilt again, along with the Horto chapel, Crucifixion, Descimento, Resurrection and Ascension, second project of padre Manuel de Santa Ana, franciscan religious and lens of theology in the Santarém convent.
Here we are led to the «Getsémani», the Oliveiras garden. After Jesus warned the sleepy disciples to watch and pray not to fall into temptation, are surprised by Judas, the traitor,and for an huge crowd that comes with swords and staves, multidão que vinha com espadas e varapaus, sent by the princes of priests and by the elders of the people.
Outside, we found the inscription that topped this chapel: «MANUS INJECERUNT IN IESUM ET TENUERUNT EUM», which is translated, according to the bible of Jerusalém, by: «They laid their hands on Jesus and arrested him ».
Inside the chapel we found 11 images, where the scle of betrayal is encroating and Peter’s attempts to defend the master.
For perennial remembrance of the 150th anniversary of the launch of the first shrine stone, the confraria and the committe of friends of chapels, from then, promove an fund-raising to the new lord figured in prision, that represents the final scene of Oliveiras garden. As only exist 2 figures, that of Jesus being kissed by Judas, were integrated 9 more images executed by Casa Fânzeres. Carlos Luís Ferreira da Cruz Amarante, in the map of 1789, describes the old chapel in this way: a large mob holding Jesus Christ. Judas giving him the scle. St. Peter cutting the ear to the servant of the pontiff. The young man running away covered with the sheet. Judas suspending himself in a tree.
In this staging of the prison, the kiss isnt an symbolic element of veneration, on the contrary, an rude sinal of betrayal.
In the left side of the chapel is a fountain (Diana fountain) with their emblems: hand, aljava and arch.
Diana is a roman goddess identifyed with Artemísia, greek goddess, divinty of the woods and forests, goddess of hunting, streams of water and lakes.
According to tradition, this vindictive goddess, took advantage of human sacrifices and promoted massacres of animals that symbolize the sweetness and love making sence, so, their placement on the left side of the chapel which houses the scene of Judas kiss, a reason that triggered the suffering of Christ broken by human hands.