[2] Theories surrounding the purpose of this room stretch from political commentary to an exposition on Federico II Gonzaga's character, though there is no evidence that either are true.

[4] Its singular theme absorbs the viewer into the story of the heavenly god, Jupiter away from his throne, showing his willingness to fight against the giants attack.

[1] According to Giorgio Vasari, it was Romano's intention to create this illusionistic landscape of mountains and buildings collapsing, surrounded by heavy clouds driven by the winds that distorted the Giant's face in horror.

[5] When entering the Sala dei Giganti, an action scene of mid battle, is stuccoed onto the walls, bringing the viewer a sense of excitement.

[6] In order to create an illusionistic experience Romano purposely put the viewer on the ground with the giants, who are losing the battle with the Gods.

[6] This design choice is said by scholars to be meant as an intimidation tactic for the viewer, as the patron Federico II Gonzaga wanted his visitors to be uneasy in his presence.

[5] Consulting the contemporary translations of Ovid's Metamorphoses help explain the iconographic motifs in the rooms of the Palazzo de Te.

[3] He places himself by Juno, Jupiter’s wife and sister, an action scene of himself actively attacking the giants who, according to the Metamorphosis, has intent to raid Mount Olympus.

[8] According to other versions of the myth, Jupiter resisted the Giants' assault thanks to the intervention of Pan or of the asses of Silenus and Bacchus,[4] but overall the scene is meant to create an unsettling atmosphere for its visitors.

[5] Its inherent possibilities for effective aesthetic design created a story the patron could tell to express their self-image in religion, morality, and political ideas.

[10] In the Chamber of Psyche on the walls bordering the room it clearly states in “HONESTO OCIO POST LABORES AD REPARANDAM VIRT[utem] QVIETI CONSTRVI MANDAVIT” meaning “ordered this construction for his honest leisure after hard labours, to regain his strength in peace”).

[10] Sala dei Giganti is traditionally seen by art historians as an allegory of Giulio Romano’s criticism of the Roman Emperor Charles V and his global imperial rule.

[10] The high tension that followed the Italians Wars (1494–1559) and the limitation church and state put on political dialog, gave no safe space to critique the imperial empire at the time.

[3] Freud notes that looking deeper into the psychological aspects of Sala dei Giganti and its patron, it is easy to assume that Gonzaga wanted to prove his authority over Mantua and its people by displaying this fantastical panorama, showing his narcissistic insecurity.