La Maja by francisco de Goya celebrates the sexiest skin, the most resilient flesh, the most exquisite suggestion of a line of hair running from the navel down. But the incoherent articulation - the inexplicable incompetence of the drawing of the arms, the impossible position of the breasts, the unconvincing conjunction of the head with the neck - is a virtual denial of the Renaissance tradition's feeling for the body as a functioning whole, not an assemblage of delicious parts. Goya sees his nude as he sees the women in his portraits - as a doll.