66 
HOUSE & GARDEN 
The Terra Cotta TILE ROOF 
on this pretty little home has greatly added to its attractiveness. It’s the Imperial 
Spanish pattern and affords a perfect shelter—leak-proof—moisture-proof and abso¬ 
lutely fire-proof. 
It requires no$paint, stain or repairs to preserve its natural beauty and lasts unchanged 
forever. We show detail of this pattern more clearly in border of this advertisement. 
Our illustrated booklet “The Roof Beautiful/* printed in 
colors, contains views of many beautiful homes with 
roofs of Terra Cotta Tiles, and is sent free upon request. 
LUDOWICI-CELADON CO. 
(Manufacturers of Terra Cotta Roofing Tiles 
General Offices. 1107-1117 Monroe Building CHICAGO, ILL. 
Developing A City Garden 
(Continued f 
land poppies and the brilliant Alys- 
sum saxatile, daintily disposed as 
borders for the walks. 
In late May came iris and peonies, 
pink Oriental poppies and coral pink 
Sweet William, besides the Darwin 
tulips in the center. The outer sides 
were beautiful with foxgloves and 
lupines, and Oenothera Youngii for 
yellow. 
June and July saw the blooming 
of larkspur, coreopsis, clematis, lemon 
lily, pink herbaceous spiraea, tall val¬ 
erian, Harrison’s yellow rose, gyp- 
sophila, heliotrope and lavender 
funkia. 
With the closing of July and the 
coming of August we look for the 
masses of pink and white phlox, 
Elizabeth Campbell and Pink Beauty 
for the former, Miss Lingard and In¬ 
dependence for the latter. Crepus- 
cule added its beautiful lavender, 
Mahdi its purple, and orange butter¬ 
fly weed gave a pleasantly brilliant 
note. Then, at the lower end of the 
garden, rose the fragrance of helio- 
row page 62) 
trope, lavender, rose geranium and 
lemon verbena. 
September and October were bright 
with the yellows of helenium and the 
deep purple of New England asters; 
pink and blue asters together with 
cosmos and Japanese anemone form 
a frame for the garden sides, and 
dull pink sedums and dwarf ageratum 
are used^ as borders for the minor 
walks. The pink Sweet Williams 
down the center walk have given way 
to pink verbenas and candytuft. 
Room was made for them by pulling 
up the forget-me-nots after they had 
time to sow themselves for next 
year’s crop. 
November, alas, closes our year’s 
outdoor bloom. In its “melancholy 
days” there are only the bronze and 
yellow hardy chrysanthemums, helped 
out by a few brave plants of agera¬ 
tum, verbenas, cosmos and coreopsis 
which keep the garden still lovely in 
spite of the dry leaves rustling under 
foot. But we feel that we have 
succeeded wonderfully well. 
You make certain of 
lasting satisfaction in 
decoration, service and 
durability; you get se¬ 
curity and protection at 
their highest-when you 
insist upon Yale. 
Whether it is locks and 
hardware for your house 
-or a night latch to sup¬ 
port a doubtful lock; or 
for a door closer to bring 
quiet and comfort into 
your home, or for a 
sturdy padlock for out¬ 
side locking. 
But insist on seeing the 
name Yale—or you won’t 
get Yale. 
The illustration shows 
the “Gateshead” design 
of Yale house hardware. 
It is highly decorative 
and distinctive. We will 
be glad to give you 
fuller information about 
the “Gateshead” design 
and other standard Yale 
hardware designs. 
For sale by the Hardware Trade 
The Yale & Towne Mfg. Co. 
9 East 40th Street, New York 
Collecting Japanese Color Prints 
(Continued from page 32) 
outline on thin paper with the point 
of a brush dipped in Chinese ink. 
This wrns then taken and pasted, face 
down, on a flat plank of cherry or 
other suitable wood cut to convenient 
size, slabwise. The back of the pasted 
sheet was then carefuly peeled down 
(if the paper seemed too thick) by 
rubbing until it revealed the design as 
drawn on the fibres still clinging by 
means of the paste to the wood. The 
engraver (sometimes he was like¬ 
wise the designer) carefully cut 
away all parts of the wood except 
those covered by the actual lines of 
the design, thus deftly leaving this 
design in relief on the block so en¬ 
graved. Next the block was cleaned 
and inked with black, and a num¬ 
ber of impressions taken from it. 
This first block served as the key- 
block for the completed print, and 
contained the main outlines of the 
subject. One of the prints first taken 
from it was colored up by the artist 
just as the completed print was to 
appear. Other impressions were 
treated like the original drawing, 
being pasted down, in turn, on other 
wood blocks, and only those parts of 
each block were then left in relief 
that were to print each color. Gookin 
describes the method of printing as 
follows: 
The Printing 
“The printing was done on moist 
paper with Chinese ink and color 
applied to the blocks with flat 
brushes. A little rice paste was usu¬ 
ally mixed with the pigments to 
keep them from running, and to in¬ 
crease their brightness. Sometimes 
dry rice flour was dusted over the 
blocks after they were charged. To 
this method of charging the blocks 
much of the beauty of the result 
may be attributed. The color could 
be modified, graded, or changed at 
will, the blocks covered entirely or 
partially.” The key block was usual¬ 
ly the last one which was impressed. 
Next, “A sheet of paper was laid on 
the block and the printer rubbed off 
the impression, using for the purpose 
a kind of pad called a baren. The 
skill of the printer was a large 
factor in producing the best results.” 
Unlike other forms of engraving, 
the first impressions were not the 
best. It often requires some fifty 
preliminary impressions to be taken 
from the blocks before these 
“warmed up” to the requirements of 
artist and printer. _ In the best of the 
early prints a thick, spongy, ivory- 
toned Japanese paper was used. 
There was always an opportunity 
for varying the color and experi¬ 
menting. That is why one often sees 
two prints from the identical blocks 
showing marked variations. 
As to Forgeries 
Genuine Japanese color-prints are 
not so rarely to be met with as one 
might imagine; the market is flooded 
with forgeries — occasionally there 
are contemporary forgeries — good, 
bad and indifferent, so far as fidelity 
to the originals is concerned. Then, 
again, one finds modern copies of the 
finest Japanese color-prints almost 
everywhere. The connoisseur will, 
of course, seek only originals of un¬ 
doubted authenticity. On the other 
hand, though with no desire to en¬ 
courage fraud, copies known to be 
such and bought with open eyes have 
an interest that advanced collectors 
scorn to allow that they can have. 
The writer knows of several small 
collections wherein the originals of 
rare color-prints are augmented by 
excellent copies of such works as the 
collector may not hope to possess. I 
am not just sure that a collection of 
such copies alone would not be of 
great interest and pleasure, not, to be 
sure, that any copies could more than 
suggest the exquisite beauty of gen¬ 
uine prints (some copies are too ex¬ 
ecrable to be admitted to one’s af¬ 
fections at all!) but they could and 
they do suggest such quality of 
beauty. A genuine portrait by Shar- 
aku, a triptych by Kiyonaga, a land¬ 
scape by Hiroshige or a fine print by 
Utamaro would be a treasure indeed! 
Just the same, there are lesser names 
still to conjure with, and these not 
only are legion but one may go a-bar- 
gaining with delectable success in 
their midst. 
How to Start a Collection 
With Japanese prints, where one 
does not invest amounts that cause 
the spender to consider every pur¬ 
chase expertly—the average amateur 
(Continued on page 68) 
