He couldn’t unwind the line of beauty for Catherine, because it explained almost everything, and to her it would seem a trivial delusion, it would seem mad, as she said.
The double curve was Hogarth’s “line of beauty,” the snakelike flicker of an instinct, of two compulsions held in one unfolding movement. He ran his hand down Wani’s back. He didn’t think Hogarth had illustrated this best example of it, the dip and swell — he had chosen harps and branches, bones rather than flesh. Really it was time for a new Analysis of Beauty.
— Alan Hollinghurst, The Line of Beauty