Oh. I mean a double set of thick barlines - two. Very common in Haydn. Did not realise that was ambiguous! And for me, playback is important so the repeat technique is less than optimal.
Strange that this is so common in music as mainstream as Haydn but not in Dorico.
If correct playback is important, then one way to obtain two thick barlines adjacent to each other is to create the shortest possible measure between two thick barlines as shown below:
Hide the time signatures for the short measure and the following measure. Select the bar rests in the short measure and remove them. Then move the second thick barline to the left in note spacing mode:
Thanks @johnkprice. But Steinberg, couldn’t we just have these? That would be great.
Agreeing with Andro here. The reason to have the barline as included in the example is so that we can reproduce what is in the example in a digital score. Playback of repeats (in Dorico) is not the most important thing (for us at this particular moment), rather the idea is to be able to reproduce what we see in old scores – or in Haydn as Andro suggests. As an editor of a critical edition it is important to be faithful to the original notation in many cases, rather than imposing a modern interpretation (especially when the original intention is somewhat unclear) because this allows the reader/researcher to engage with that question and come to their own conclusions.