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.