This thesis examines the convergence of artistic and medical ideologies in two of Sarah Grand’s novels, The Beth Book (1897) and The Heavenly Twins (1893). Critics have observed how Grand critiques patriarchal styles that oppose the New Woman ideal of authentic self-expression. I demonstrate that her critique encompasses not only artistic movements, but also medical ideology. Artistic and medical styles have deleterious effects on women: in both cases, bodies are appraised according to the patriarchal logic of form over content, with a false aesthetic and anatomical standard prioritized over female subjectivity. These styles are deeply enmeshed, with artists anatomically examining their subjects and doctors seducing their female patients, taking inspiration from aesthetic notions about female bodies to eroticize their malpractice. A close analysis of Grand’s rhetoric of style and its manifestations in doctor- and artist-figures in her novels demonstrates the profound entanglement of medical and aesthetic institutions of the fin-de-siècle.