Question: Were objectionable opinions about Michelangelo's "The Last Judgement" ever expressed?
About the article "The Last Judgment (Michelangelo)", section "Reception and expurgation".

Candidate passages:
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary.
The works encompassed are from Giotto in the early 14th century to Michelangelo's "Last Judgement" of the 1530s.
The themes that preoccupied painters of the Italian Renaissance were those of both subject matter and execution- what was painted and the style in which it was painted.
The artist had far more freedom of both subject and style than did a Medieval painter.
Certain characteristic elements of Renaissance painting evolved a great deal during the period.
These include perspective, both in terms of how it was achieved and the effect to which it was applied, and realism, particularly in the depiction of humanity, either as symbolic, portrait or narrative element. 
In Ancient Greek art, male nakedness, including the genitals, was common, although the female vulval area was generally covered in art for public display.
This tradition continued in Ancient Roman art until the conversion of the Roman Empire to Christianity, when heroic nudity vanished.
During the Middle Ages, only the unfortunate (most often the damned) were usually shown naked, although the depictions were then often rather explicit.
Adam and Eve were often shown wearing fig or other leaves, following the Biblical description.
This was especially a feature of Northern Renaissance art.
From about 1530, the developing reaction to Renaissance freedoms and excesses that led to the Council of Trent also led to a number of artworks, especially in churches or public places, being altered to reduce the amount of nudity on display.
Often, as in the famous case of Michelangelo's "The Last Judgement", drapery or extra branches from any nearby bush was used.
For free-standing statues this did not work well, and carved or cast fig leaves were sometimes added, such as with the plaster copy of Michelangelo's "David" displayed in Victorian era London.
The Adam and Eve panels on the Ghent Altarpiece, already equipped with fig leaves by Jan van Eyck, were simply replaced with 19th-century panels copying the figures but clothed.
Many of these alterations have since been reversed, damaging some of the statues. 
Michelangelo's relief of the "Battle of the Centaurs", created while he was still a youth associated with the Medici Academy, is an unusually complex relief in that it shows a great number of figures involved in a vigorous struggle.
Such a complex disarray of figures was rare in Florentine art, where it would usually only be found in images showing either the Massacre of the Innocents or the Torments of Hell.
The relief treatment, in which some of the figures are boldly projecting, may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo Medici, and similar marble panels created by Nicola and Giovanni Pisano, and with the figurative compositions on Ghiberti's Baptistry Doors.
The composition of the "Battle of Cascina", is known in its entirety only from copies, as the original cartoon, according to Vasari, was so admired that it deteriorated and was eventually in pieces.
It reflects the earlier relief in the energy and diversity of the figures, with many different postures, and many being viewed from the back, as they turn toward the approaching enemy and prepare for battle.
In "The Last Judgement" it is said that Michelangelo drew inspiration from a fresco by Melozzo da Forli in the Church of the Holy Apostles, Rome.
While the work is very different in character to Michelangelo's, Melozzo had depicting figures from different angles, as if they were floating in the Heaven and seen from below.
Melozzo's majestic figure of Christ, with windblown cloak, demonstrates a degree of foreshortening of the figure that had also been employed by Andrea Mantegna, but was not usual in the frescos of Florentine painters.
In "The Last Judgement" Michelangelo had the opportunity to depict, on an unprecedented scale, figures in the action of either rising heavenward or falling and being dragged down.
In the two frescos of the Pauline Chapel, the "Crucifixion of Peter" and the "Conversion of Paul", Michelangelo has used the various groups of figures to convey a complex narrative.
In the "Crucifixion of Peter" soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events.
A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events.
In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment. 
The cover artwork features the band jumping in front of Michelangelo's 'The Last Judgment'. 
The Sistine Chapel (; ) is a large and renowned chapel of the Apostolic Palace, the official residence of the Pope in the Vatican City.
Originally known as the "Cappella Magna", the chapel takes its name from Pope Sixtus IV, who restored it between 1477 and 1480.
Since that time, the chapel has served as a place of both religious and functionary papal activity.
Today it is the site of the Papal conclave, the process by which a new Pope is selected.
The fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel ceiling and "The Last Judgment" by Michelangelo.
During the reign of Sixtus IV, a team of Renaissance painters that included Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio and Cosimo Roselli, created a series of frescos depicting the "Life of Moses" and the "Life of Christ", offset by papal portraits above and trompe l’oeil drapery below.
These paintings were completed in 1482, and on 15 August 1483 Sixtus IV celebrated the first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.
Between 1508 and 1512, under the patronage of Pope Julius II, Michelangelo painted the "Sistine Chapel ceiling", a masterpiece without precedent, that was to change the course of Western art.
In a different climate after the Sack of Rome, he returned and between 1535 and 1541, painted "The Last Judgement" for Popes Clement VII and Paul III.
The fame of Michelangelo's paintings has drawn multitudes of visitors to the chapel, ever since they were revealed five hundred years ago.