Question: When the fresco was completed, how did the Council of Trent change its decrees?
About the article "The Last Judgment (Michelangelo)", section "Reception and expurgation".

Candidate passages:
"The Last Judgment" was an object of a heavy dispute between critics within the Catholic Counter-Reformation and those who appreciated the genius of the artist and the Mannerist style of the painting.
Michelangelo was accused of being insensitive to proper decorum, and of flaunting personal style over appropriate depictions of content.
A few years after the fresco was completed, the decrees of the Council of Trent urged a tightening-up of church control of "unusual" sacred images.
In response to certain accusers, when the Pope's own Master of Ceremonies Biagio da Cesena said of the painting "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully," and that it was no work for a papal chapel but rather "for the public baths and taverns," Michelangelo worked Cesena's face into the scene as Minos, judge of the underworld (far bottom-right corner of the painting) with Donkey ears (i.e.
indicating foolishness), while his nudity is covered by a coiled snake.
It is said that when Cesena complained to the Pope, the pontiff joked that his jurisdiction did not extend to hell, so the portrait would have to remain.
The genitalia in the fresco, referred to as 'objectionable,' were painted over with drapery after Michelangelo died in 1564 by the Mannerist artist Daniele da Volterra, when the Council of Trent condemned nudity in religious art.
The Council's decree in part reads: 
According to Dodd, he published 'The Catechism for the Curats, composed by the Decree of the Council of Trent, faithfully translated into English,' London 1687; and probably he was also the translator of 'The Canons and Decrees of the Council of Trent,' London 1687. 
In 1596 Francesco Barbaro, Patriarch of Aquileia, held a council at which he renewed in nineteen decrees the legislation of the Council of Trent, including the replacement of the Aquileian Rite with the Tridentine Mass.
This was part of a series of synods around the Patriarchate to standardise the Rite with Rome. 
 Disciplinary measures occupied the attention of the Council of 1509.
The Council of 1596 was called for the purpose of furthering the observance of the decrees of the Council of Trent (1545-63), and for a similar purpose the Council of 1609.
The Councils of 1664 and 1725 formulated disciplinary decrees; the latter proclaimed the duty of adhering to the Bull of Clement XI against the "Reflexions morales" of Quesnel.
The Council of 1849 published, in ten chapters, decrees concerning faith and discipline.  
"The Last Judgment", a fresco in the Sistine Chapel by Michelangelo (1534–41), came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon.
Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many churchmen as lacking appeal for the mass of the population.
Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art.
Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.
The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his "Last Supper", a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast.
Veronese was told that he must change his painting within a three-month period – in fact he just changed the title to "The Feast in the House of Levi", still an episode from the Gospels, but a less doctrinally central one, and no more was said.
But the number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Saint Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable.
Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.
According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings.
Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.