This work was received by artists with enthusiasm, reflected in the pages
of Vasari. They came from all parts to study it; in fact, most of the
drawings attributed to Michael Angelo in collections are their studies
from it, and not his studies for it, as they are called. As a general
rule, whenever there are two or more figures drawn in a group, all equally
finished and accurately in the same position as the figures in the fresco,
the drawing may be assumed to be a copy.
Two sections of the public, even then, were unable to receive Michael
Angelo's message of the beauty and purity of the human figure. Not only
scandalous persons, like Aretino, objected to them, but pious people, who
could not and cannot yet be brought to believe in the splendour and
holiness of the Creator's work. Vasari tells us that when Michael Angelo
had almost finished the work Pope Paul came to see it, and Messer Biagio
da Cesena, Master of the Ceremonies, a very particular person, was with
him in the chapel, and was asked what he thought of it. Messer Biagio da
Cesena replied that he considered it highly improper to paint so many
shameless, naked figures in such an honourable building, and that it was
not a fit work for the Pope's chapel, but more suitable to a bagno or an
inn. Michael Angelo nettled by this resolved to revenge himself at once.
As soon as they left the chapel he set to work and drew Messer Biagio's
portrait, from memory, in hell as Minos, with a great serpent twisted
round his legs, surrounded by a crowd of devils.
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