October 1, 2010
Significantly updating the Caldecott Honor–winning Castle (1977) and Cathedral (1973) with new text and full-color illustrations, this hefty volume combines them with a very lightly revised Mosque (2003) for a three-in-one architectural spree. No mere colorization of the black-and-white originals of the first two books (thank goodness!), the all-new, often breathtaking images have been drawn by hand and then digitally colored to harmonize, beautifully, with the look of Mosque. The sequencing of the building processes and, in the case of Cathedral, the timing have been adjusted to accord with recent archaeological discoveries, and the discussion of the creation of the stained-glass windows (complete with heavenly blues) in Cathedral is expanded. The author's signature humor is evident throughout. "[T]he plague was gone," from the original Cathedral, becomes, "the great plague wasn't even a twinkle in some poor flea's eye," and whimsical details such as a seasick passenger on the way to Wales and a carefully labeled "mistake" in the spread introducing Cathedral's tools ground the lofty endeavors comfortably in the human realm. Take a moment to mourn the originals, then celebrate this entirely worthy revision. (glossary) (Nonfiction. 8 & up)
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Starred review from November 1, 2010
Gr 5 Up-Three of Macaulay's classic construction books, Castle, Cathedral, and Mosque, are combined in one volume, with a wealth of new material added. Rather than merely colorizing the original lines of the first two, the artist created all new illustrations and reworked most of the text for consistency and accuracy. Felt-tipped markers and colored pencils offer striking new views in Castle and Cathedral, matching the depth, detail, and clarity of the earlier versions without the extensive crosshatching used in the original black-and-white drawings. The content of some pictures has changed, frequently adding to the human stories that are told along with the construction. The architectural complexities of the church come through in both versions of Castle, for example, but the new one subtly adds the emotional element of a funeral in progress in the background. Other changes add key steps not covered previously, such as roofing the crypt in Cathedral. Some written passages are expanded and others are more concise, depending on the topic. Some steps, such as the window-making in Cathedral, are placed earlier or later within the narrative. While the first two titles are fully revised works, Mosque remains mostly unchanged, beyond some minor text editing; with a few exceptions, such as the addition of towels for the bathing men, the illustrations are identical. Though most libraries won't want to discard their copies of Cathedral and Castle, the new color artwork and updated content give this three-books-in-one volume high value and strong appeal.-Steven Engelfried, Wilsonville Public Library, OR
Copyright 2010 School Library Journal, LLC Used with permission.
October 15, 2010
Grades 6-12 As it was originally conceived, this title would group together newly colorized versions of three previously published single titles about some of the worlds most lasting structures: Macaulays Cathedral (1973) and Castle (1977), both Caldecott Honor Books, and Mosque (2003). In his moving introduction, though, Macaulay explains that after looking closely at the two older titles, he realized that simply washing the original drawings in color was not an option. Dissatisfied with ambiguous cross sections and embarrassing lapses in scale, Macaulay completely redid Cathedral and Castle, adding new drawings in beautifully redesigned formats. The new images are not only colorized but they are also humanized; more people appear on the pages. Macaulay has also tightened and rewritten text in the two older titles, creating even stronger narratives. Mosque, originally printed in color, received a few format changes and new drawings. The single editions of these watershed works still deserve space on the library shelves, but the collective impact of this celebratory, awe-inspiring compendium, which closes with a group glossary, is powerful and will draw an even wider, all-ages audience.(Reprinted with permission of Booklist, copyright 2010, American Library Association.)
Starred review from November 1, 2010
Three of the author's classics -- Cathedral (rev. 10/73), Castle (rev. 10/77), and Mosque (rev. 11/03) -- are substantially revised for an omnibus celebration of the building of historic, monumental structures. Though slimmer, the present volume's trim size matches The Way Things Work (rev. 3/89) and The Way We Work (rev. 9/08). Type size, however, has gradually been diminishing in Macaulay's informational books: this text resembles closely packed newsprint, which may well daunt children. That would be a shame, since (perfect as many of us thought them then) Macaulay's books are actually much improved here, not because full color replaces elegant black and white but for a host of other reasons. Larger, more active figures add visual interest as well as narrative nuance and detail (during a siege in Castle, one chess player is puzzled, the other smug); energetic workmen demonstrate their skills with an occasional bit of realistic humor (in Cathedral, an irate master points to a labeled "measuring stick" while a rueful stoneworker admits his "mistake"). Plow horses, up front in a town-wide spread in Cathedral, lead eyes to the right. Compositions throughout are more animated, with points of view ranging from aerial to close-up: bird's-eye vistas of the castle on its seaside promontory dramatize its relationship to the fortified town growing around it; magnificent old trees loom above workmen felling timber; hands holding a detailed drawing are almost life-size. Some near-schematic drawings in the original books become three-dimensional scenes here. Paradoxically, the diminished level of detail, looser drafting, and color help to define space and action while the whole conveys a clearer -- and more dramatic -- sense of the magnitude of these undertakings. Color also lends enchantment to such scenes as the light-filled cathedral interior and the fire-lit workshop of a Jewish blacksmith in Mosque. Reorganization of the texts, too, facilitates understanding of both construction processes and how the three different medieval societies functioned. While the older Cathedral and Castle are more substantially altered, even the more recent Mosque's text benefits from reworking. The artist as a young man shows up from time to time (he holds that measuring stick, and is seen making a nighttime visit up a circular stair to the castle privy). The glossary is nicely ecumenical, interfiling terms from all three books. Hold onto your old copies; but add this new version, too. All have much to offer, and comparison is fascinating: illustration, bookmaking, and communication continue to evolve. joanna rudge long
(Copyright 2010 by The Horn Book, Incorporated, Boston. All rights reserved.)