70 
House & Garden 
That everyday, plain key that you are accustomed 
to seeing in the pantry door— 
It can be every bit as much a YALE key as that 
small, flat key in your pocket. 
Maybe more so. Because maybe that small, flat 
key in your pocket is not a YALE key at all—take 
a look at it and see. 
Because no key is a YALE without the name 
YALE graven into it. 
Shape does not settle identity, but the presence of 
the name does. 
0 
In future, don’t worry about the design of a key or 
a lock or any piece of builders’ hardware. Hold it 
up to your eyes and buy by the YALE name on it. 
That’s the test for the best, in keys that are flat or 
keys that are round. 
And that’s the test for all that is finest in reputa¬ 
tion, invention, design, workmanship and material 
in everything else that is made by the makers of 
YALE keys: Builders’ Locks and Hardware, Bank 
Locks, Padlocks, Night Latches, Door Closers and 
Chain Blocks. 
The Yale & Towne Mfg. Co. 
Makers of the Yale Locks 
GENERAL OFFICES & WORKS: Stamford, Conn. 
NEW' YORK OFFICE: 9 East 40th Street 
CHICAGO OFFICE: 77 East Lake Street 
Canadian Vale & Towne Ltd., St. Catharines, Ont. 
YALE Made is YALE Marked 
■ T9A0L I ■■ MARK ■ 
“The Moon 
B r idg e,” b y 
Helen Hyde, is 
distinctly Japa¬ 
nese in feeling. 
I n colors, and 
especially suit¬ 
able for the nur¬ 
sery. Ehrich 
Print Gallery 
Some American Wood Block Engravings 
(Continued from page 30) 
bad judgment—the product of the new placed close together. An etching from 
school of American wood block gravers, the very nature of the process lends itself 
The wood block by its very nature to fineness and delicacy of line and not 
almost has to be decorative; it is either to mass. 
that or worthless for any purpose. The When it comes to making a litho- 
reason is that the artist in cutting it has graph, it is possible to attain boldness, 
to deal with masses rather than lines, as Brangwyn does, but the natural use 
and masses show up on a wall. Either of the medium tends to delicacy and 
for good or bad, they show up. This that grainy appearance which is readily 
boldness of technique is a trait common recognized as the lithograph’s most 
to all wood blocks except those done prominent characteristic. The lithograph 
with infinite fineness and pains, as, for is in the first place a drawing, trans¬ 
instance, the work of the old masters ferred from the stone to the paper, 
or of such a consummate modern crafts- But when the artist uses the wood 
man as Timothy Cole. block, the first technical consideration 
The cause for the boldness of the is the fact that whatever part of the 
wood block as compared with the unob- block he does not cut away with his 
trusiveness of the etching and the litho- instrument is sure to be printed in solid 
graph is to be found in the nature of color on the paper. Whether he wills 
the processes used in production. The it or not, he is compelled to think of 
artist in making an etching takes a per- his picture in terms of masses. He pro- 
fectly smooth^ piece of metal and with duces his composition by cutting away 
a sharp and fine instrument incises the masses of solid color, and naturally one 
surface. He keeps in mind the fact that of the first problems he considers is the 
when his task is done, the piece of metal artistic balancing of the masses he 
will be rubbed with ink which will after- leaves to be printed. In a sense he is 
wards be wiped away, leaving only so sculpturing in wood—creating a bas re- 
much as stays in the depressions made lief, only the high, flat surfaces of which 
by his instrument. It is only the ink are going to be seen. He is working in 
that stays in these depressions that will a plastic material, creating form as he 
be transferred to the paper which is goes. He obtains direct effects, which, 
“printed” by being pressed tightly to because of their directness, are all the 
the block until it absorbs this ink. Thus more poignant. There is nothing fin- 
it will be seen that for the artist to pro- nicky about them, 
duce a solid mass of color of any size So it will be seen that, from the very 
is an impossibility. The nearest he can nature of the material used, the wood 
approximate it is in a series of bold lines ( Continued on page 72) 
A quaint bit of old New York done in colors by R. Ruzicka. 
It is printed from severed plates, used one 'at a time—a 
method different from that producing the bold masses of 
the newer school 
