A History of the Old English Letter Foundries: with Notes, Historical and Bibliographical, on the Rise and Progress of English Typography.Reed, Talbot Baines
History
A History of the Old English Letter Foundries: with Notes, Historical and Bibliographical, on the Rise and Progress of English Typography.
Reed, Talbot Baines
Printing -- England -- History; Type and type-founding -- England -- History
After his retirement from type-founding, he devoted himself actively
to the {328} scheme for lighting London with coal-gas. For some of his
appliances in connection with this business—the sliding water-joints
for pendants and chandeliers amongst others—he received the medal
of the Society of Arts (his only reward, for he did not patent his
invention). In 1832 he went to reside at Henley, and ten years later
was afflicted with total blindness, an operation for cataract having
proved unsuccessful. In this state he continued for twenty-seven years,
“tired,” as he said, “of having been so long in the dark,” but serene
in temper, and his mind illuminated with Christian hope. He taught
himself to read the embossed printing for the blind, and was able to
write by the aid of a simple apparatus constructed for that purpose. He
lived, in spite of his affliction, to a cheerful old age, and died in
1869, aged 88. He left no son.
To estimate the complete revolution which had taken place in the
productions of this foundry during the interval between 1807 and 1819,
it is only necessary to glance through the first specimen book of
the new proprietors, issued in the latter year, which may be taken
to represent the state of the foundry pretty nearly as it was at the
time of its transfer to Sheffield. There is not a single fount in the
one book which reappears in the other. The modern fat-face Romans and
Egyptians[678] take the place of Jackson’s elegant old-style letters.
The Orientals have completely disappeared, and the general appearance
of the book reflects as much as any specimen of the period the
prevalent taste of a so-called improved art.
It was, apparently, highly esteemed in its day. “Mr. Caslon,” says
Hansard, writing only six years after the event, “transferred to the
Sheffield founders such a specimen of type and flowers as will ever
cause us printers to regret the loss of such a competitor for fame in
this difficult business.”
Messrs. Blake, Garnett & Co., a firm formed for the special purpose
of acquiring the type business, issued their first specimen, above
referred to, very shortly after the transfer of the business to its new
quarters. Their prefatory note is interesting, not only as recording
the transaction, but as intimating that the Oriental and Foreign
founts, which had formed so conspicuous a feature of the previous
specimens of the foundry, had also found their way to Sheffield:―
“Blake, Garnett and Co. beg leave respectfully to inform the trade
that they have purchased the whole of Mr. Caslon’s Foundery,
which, in addition to the Specimens here offered to their
inspection, contains founts of Greek, Hebrew, Syriac, Arabic,
Saxon, German, etc. from Brevier to Double Pica, chiefly modern,
also every kind of Accented letters, . . . . . . and a variety of
other Sorts, of which Specimens are not yet printed.” {329}
Public-domain text, read in full here on John Shaqi.
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