The Hall of Semele is one of the intersections in the different customary routes leading to the diverse sectors that originally made up the palace. In fact, it ends in the area that constitutes the Vestibule and opens up to the “Grand Reception” area, so that in some documents this room is known as an Antechamber.
The recklessness of the young lover of the god is, therefore, read as an invitation to the guests of the palace to maintain due respect and demeanour towards the lord of the house, and that they should earn and constantly deserve his trust and generosity without ever forgetting the power he had achieved and that was granted to him by God’s divine will.
Moreover, by observing the painting carefully, the attentive guest could gather once again, the clear political vision of the Arese family, that is, their loyalty to Spain, which is reiterated here. Jupiter, in fact, is portrayed resembling Philip IV of Hapsburg, king of Spain and governor of Milan, known to his contemporaries as a man extremely attentive to protocol, a lover of royal dignity and extremely impassive in public. Therefore, he is a king in his adult years unaccustomed to frivolity, and must be feared for his anger.
The vault of the hall is decorated by a rich border in stucco that frames the fresco, which displays four heraldic references of the Arese, Omodei, Odescalchi and Legnani families at the four corners. The composition finishes off with 18th-century depictions of cornucopias filled with fruit and the evident Borromeo crest.