The Chapel of the Body of God (Oginskis) was built in the 16th century. She was patronized by the Brotherhood of Worship of the Body of God. In 1737, the fire destroyed all of the chapel’s interior artistic equipment and entire inventory. The miraculous sculpture of Christ the Crucifix was saved. The repair of the chapel took up to 1741. Architect A. Viurcner was hired to install three stone altars with figurative statues of saints as well as a gorgeous organ choir, according to a project approved by the clients. As the said Brotherhood of the Body of God and the Vilnius Magistrate in fact had little concern for the chapel, Trakai Voivodeship T. Oginskis suggested that the Jesuits take over this chapel under its aegis, rebuild it fundamentally, and erect a family mausoleum in its basements. The Jesuits modernized the interior, giving the interior a classicist simplicity and modernity. A niche was created in the place of the altars, where the miraculous sculpture of Christ the Crucifix was hung.

The iron gate of the chapel was supplemented with the Oginskis coat of arms. The south wall is equipped with two windows mirrored imitations, corresponding to the windows on the north wall. The frescoes portray the eucharistic mystery. The composition consists of three scene motifs. The first, introductory storyline, is the Old Testament narrative of how God feeds the Jews in heavenly manna in the wilderness. The imaginative variety and domestic realism of the storyline is accentuated by the variety of mana traps: some catch me with plates, mugs, pitchers, even nuts, others with large vases, trays or scales. One woman uses an apron and a married couple rubs a large sheet. The introductory scene of the composition consists of 31 figures. Two figures were painted in the middle of the southern wall: Moses with Decalogue boards and Araon, the Jewish High Priest, in great ceremony, who were greatly surprised. Such a plot to capture the heavenly manna is very rare in European art. The second motif – in the center of the vaults, among the clouds, a large winged angel shows an open book with a Latin holy grail. In the text of John’s Gospel: “… not Moses / hath given you bread from heaven, but my Father / hath given you the true bread from heaven.” The third motif of the composition is on the eastern, altar-end of the vaults. Here is the ark of the covenant surrounded by angels, and above it, in the clouds, a golden cup with an ostia, a symbol of the mystery of the Mass and of the divine incarnation. The vault painter is unknown, but it was an experienced master professional. His drawing is loose, peaceful, academically flawless.