Thorne, indeed, having once abandoned the old style for the new, appears in the van of the innovating fashion. Not sharing in the regret expressed by his brethren in the art at the new departure, he still further advanced upon it by the production of some exceedingly thick and fat (and we may add unsightly) jobbing letters, which, though subsequently followed and even exceeded by others, were at the time unique for boldness and deformity. {294}
In Oriental and “learned” letters he appears to have achieved nothing; as not a single fount, not even Cottrell’s Domesday, appears in this specimen, or in the subsequent inventory of the Foundry.
A curious document entitled Rules and Regulations of the Letter-Foundry of Robert Thorne, London, Jan. 1806, exists, and gives an interesting glimpse into the order and customs of the Barbican Foundry. To the general scope of these rules we have referred in another place[603]; but as being personal to Thorne in his relations with his men, we may mention here that he constituted himself Treasurer of the fines for “Footale,” imposed by the men on all new workmen, with an obligation to account for and distribute the sum every Christmas Eve, and also made himself liable, equally with his men, to a fine of a shilling if he left his light burning when quitting the Foundry for the night.
For some time (though the exact dates cannot be fixed), Mr. Thorne had a partner in Mr. Hugh Hughes, an able engraver and designer of music and other characters, who afterwards commenced a foundry in Dean Street, Fetter Lane.[604] This association does not appear to have lasted long, or to have involved any alteration in the style of the firm.
About the year 1810 Mr. Thorne removed from Barbican to Fann Street, Aldersgate,[605] where, in premises formerly occupied by a brewery, he continued his business under the name, which it still bears, of the Fann Street Foundry.
Considerable additions were made to the faces of the Foundry during the next ten years. Two new Scripts were cut, the “Sanspareil” matrices were adopted for the large letters, and a few new book founts appeared with light faces, which contrasted agreeably with the fat style generally predominating in Thorne’s specimens.
In 1817, declining health induced Mr. Thorne to attempt to dispose of his business to his fellow-founders; but his offer being declined, he resumed his labours and continued actively at work until the time of his death, which occurred in 1820, at the age of sixty-six. He was buried in Holloway Churchyard, where a tablet is erected to his memory.
No complete specimen of his type remains later than that of 1803; although the numerous loose sheets which appeared after that date, and the fact that as many as 132 pages of composed specimens were left in type at the time of his death, show that one, if not several books had been issued during the interval. {295}
On June 21st, 1820, the Foundry was put up to auction,[606] and purchased entire by Mr. William Thorowgood.
This gentleman was previously unconnected with the typographical profession,[607] having been engaged as London manager and agent to a Patent Roller Pump business at Stone, in Staffordshire, of which concern he was one of the principal proprietors.