In the context of this artwork, analyze the Ignudi of the Pictorial scheme.

The ignudi are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller creation scenes on the ceiling, each pair enclosing a medallion supported by ribands above the Prophets and Sibyls. The figures hold, are draped with, or lean on items like ribbons, pillows, and large garlands of acorns,
in widely varying postures. Mostly decorative, they provided Michelangelo a prime opportunity to express himself. The poses were copied by other Renaissance artists, including Bartolommeo Bandinelli and the workshop of Raphael (for The Baptism of Constantine).
Some have suggested that the ignudi could represent angels, similar to cherubs. O'Malley compares them to sculptures of Atlas or Michelangelo's Slaves from Julius II's tomb. In their reflection of classical antiquity they resonate with Pope Julius's aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. Contrarily, a number of critics were angered by their presence and nudity, including Pope Adrian VI.
Sibyl gold Raphael fig ignudi angel nude Renaissance The Baptism of Constantine Atlas Prophet art Bartolommeo Bandinelli cherub Michelangelo Renaissance art