At the beginning of the century, the firm of Caslon had been given a new lease of life by the energy of Mrs. Henry Caslon, who in 1799 had purchased the foundry, a third share in which a few years earlier had been worth £3000, for the paltry sum of £520. She at once set to work to have new founts of type cut, and was ably helped by Mr. John Isaac Drury. The pica then produced was an improvement in the style of Bodoni, and quickly raised the foundry to its old position. Mrs. Caslon took into partnership Nathaniel Catherwood, but both died in the course of the year 1809. The business then came into the hands of Henry Caslon II., who was joined by John James Catherwood. Other notable firms were those already noticed in the last chapter--Mrs. Fry, Figgins, Martin, and Jackson. One and all of these suffered severely from the change in the fashion of types at the beginning of the century, the ugly form of type, known as fat-faced letters, then introduced, remaining in vogue until the revival of Caslon's old-faced type by the younger Whittingham. Upon the advent of machinery and cylinder printing, the use of movable type for printing from was supplemented by quicker and more durable methods, and William Ged's long-despised discovery of stereotyping is now an absolutely necessary adjunct of modern press-work. This, again, was in some measure due to Earl Stanhope, who in 1800 went to Andrew Tilloch, and Foulis, the Glasgow printer, both of whom had taken out a patent for the invention, and learnt from them the process. He afterwards associated himself with Andrew Wilson, a London printer, and in 1802 the plaster process, as it was called, was perfected. This remained in use until 1846, when a system of forming moulds in _papier mâché_ was introduced, and this was succeeded by the adaptation of the stereo-plates to the rotary machines.