His return to Calcutta saw the firm advertising, stressing, among other things, 'the unique results of twenty years’ experience and research and two years’ intimate study of European methods’. Around the same time, when Ramananda Chatterjee's "Prabasi" (sister to the Modern Review) became the first ever periodical in Bengali to feature a reproduction of a photograph on its cover purely for the sake of illustration, the block was turned out by U. Ray and Sons and the photograph taken by Sukumar Ray. A new chapter in the history of the firm began in 1913 when the family residence as well as the workshop and office of the firm were constructed at 100 Garpar Road according to Upendrakishore's design. This promoted the status of the firm from printers to publishers as well, with the printing of the first Sandesh. Much information can be got from grandson Satyajit Ray’s recollections of this new press as recorded in Andrew Robinson's The Inner Eye. ‘[ Satyajit Ray’s ] main memories of those earliest years revolved around his grandfather’s house-cum-press, U. Ray and Sons at 100 Garpar Road, and the relatives who occupied it. It stood in a peaceful road in north Calcutta with a deaf-and-dumb school on one side and a private school on the other which was no doubt typical of the crammers that Rabindranath Tagore tells us he spent his childhood years trying to escape in the 1860s and 70s. In the heat of midday, when Calcutta traffic of all kinds came to a stop, Satyajit would hear the chant of multiplication tables, of reading out loud and, sometimes, the shouts of angry masters. The building had three storeys and a fine flat roof, which Upendrakishore had used for his astronomy. The printing machinery was housed at the front of the building on the ground floor and directly above that were the block-making and typesetting rooms. The Ray family lived at the back on all three floors. To reach them, a visitor entered a small lane to one side of the house. A door gave on to stairs to the right which led to the family apartments; those turning left were on press business. Satyajit was fascinated from the beginning by the whole paraphernalia of printing, particularly as one of its end products was Sandesh with its three-colour cover. He became a frequent visitor to the first floor.