GOTHIC SCULPTURE

In this beautifully illustrated study, Paul Binski offers a new account of sculpture in England and northwestern Europe between c. 1 000 and 1500, examining Romanesque and Gothic art as a form of persuasion. Binski applies rhetorical analysis to a wide variety of s tone and wood sculpture from such places as Wells, Westminster, Compostela, Reims, Chartres, and Naumberg. He argues that medieval s culpture not only conveyed information but also created experiences for the subjects who formed its audience.