DOI Heft:
Nr. 224 (October, 1915)
DOI Artikel:Yockney, Alfred: In memoriam: Charles Edward Mallows
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43459#0322
In Memoriam: Charles Edward Mallows
an Hon. Mention in 1886 for a set of drawings.
Already his sympathetic rendering of old buildings
marked him for distinction, and further evidence
was soon forthcoming. His work at this period,
less hampered by acute problems of construction,
shows his natural gifts in selection and delineation.
It has been said frequently that Mallows developed
his great facility with the pencil comparatively late
in life; but this is not so. He was using this
medium successfully at least as early as 1887, when
he made drawings of Gloucester Cathedral. One
of this series, that of the Cloisters, is a masterpiece.
It is a faithful and exquisite rendering of archi-
tectural beauty, testifying among other things to
the artist’s mastery of pencil-work.
One of the best drawings at this period was of
Notre Dame, Paris, with spires added to the West
Front according to the scheme of Viollet-le-Duc.
It was a pen drawing and the point of view was
that of an artist rather than of an architect. The
treatment of the apse, buttresses, bridge, and boats
was well considered, and the effect was admirable.
The composition included the Quay, with its pic-
turesque accessories, and the whole drawing not
only revealed an architect’s reverence for con-
struction, but a draughtsman’s eye for distinction
of outlook.
In 1889 Mallows won the Pugin Studentship
offered annually by the Royal Institute of British
Architects, and he toured in Gloucestershire,
Oxfordshire, and Warwickshire in fulfilment of the
condition that he should study mediaeval archi-
tecture in the British Isles. Those who saw the
fruits of this journey did not fail to predict that
the young student wTould have a brilliant career.
Most of the drawings were in pencil, and besides
sketches, more or less elaborate, there were mea-
sured drawings, full of character and information.
Those of Compton Wynyates, Warwickshire, were
specially remarkable.
At this time Mr. Mallows was dangerously near
devoting his talents wholly to drawing and illus-
trating, for about six months in every year were
occupied by travelling and sketching. His pros-
HOUSE IN KENT : OPEN-AIR LIVING-ROOM
DESIGNED BY C. E. MALLOWS, F.R. l.B.A.
2LO
an Hon. Mention in 1886 for a set of drawings.
Already his sympathetic rendering of old buildings
marked him for distinction, and further evidence
was soon forthcoming. His work at this period,
less hampered by acute problems of construction,
shows his natural gifts in selection and delineation.
It has been said frequently that Mallows developed
his great facility with the pencil comparatively late
in life; but this is not so. He was using this
medium successfully at least as early as 1887, when
he made drawings of Gloucester Cathedral. One
of this series, that of the Cloisters, is a masterpiece.
It is a faithful and exquisite rendering of archi-
tectural beauty, testifying among other things to
the artist’s mastery of pencil-work.
One of the best drawings at this period was of
Notre Dame, Paris, with spires added to the West
Front according to the scheme of Viollet-le-Duc.
It was a pen drawing and the point of view was
that of an artist rather than of an architect. The
treatment of the apse, buttresses, bridge, and boats
was well considered, and the effect was admirable.
The composition included the Quay, with its pic-
turesque accessories, and the whole drawing not
only revealed an architect’s reverence for con-
struction, but a draughtsman’s eye for distinction
of outlook.
In 1889 Mallows won the Pugin Studentship
offered annually by the Royal Institute of British
Architects, and he toured in Gloucestershire,
Oxfordshire, and Warwickshire in fulfilment of the
condition that he should study mediaeval archi-
tecture in the British Isles. Those who saw the
fruits of this journey did not fail to predict that
the young student wTould have a brilliant career.
Most of the drawings were in pencil, and besides
sketches, more or less elaborate, there were mea-
sured drawings, full of character and information.
Those of Compton Wynyates, Warwickshire, were
specially remarkable.
At this time Mr. Mallows was dangerously near
devoting his talents wholly to drawing and illus-
trating, for about six months in every year were
occupied by travelling and sketching. His pros-
HOUSE IN KENT : OPEN-AIR LIVING-ROOM
DESIGNED BY C. E. MALLOWS, F.R. l.B.A.
2LO