Lindsay (New York City), Charles J. Carey & Co. (Baltimore), John Ryan Co. (Baltimore), J. G. Mengel & Co. (Baltimore), Hooper, Wilson & Co. (Baltimore), Boston Type Foundry (Boston), Phelps, Dalton & Co. (Boston), Lyman & Son (Buffalo), Allison & Smith (Cincinnati), Cincinnati Type Foundry (Cincinnati), Cleveland Type Foundry (Cleveland), Marder, Luse, & Co. (Chicago), Union Type Foundry (Chicago), Benton, Waldo & Co. (Milwaukee), Central Type Foundry (St. Louis), St. Louis Type Foundry (St. Louis), Kansas City Type Foundry (Kansas City), and Palmer & Rey (San Francisco). Other foundries joined later. The key to the success of this merger was the inclusion of MacKellar, Smiths, & Jordan Co. of Philadelphia, with assets of over $6 million, the Cincinnati Type Foundry of Henry Barth, which brought with it the patents to his Barth Typecaster, and Benton, Waldo Foundry of Milwaukee, which included Linn Boyd Benton and his all-important Benton Pantograph which engraved type matrices directly instead of using punches and allowed the optical scaling of type. With the inclusion of the Barth Caster and the Benton Pantograph, ATF immediately became the largest and the most technologically advanced foundry in the world. Conditions for the first few years were chaotic: while 12 foundries ceased separate operations immediately member foundries continued to operate as if they were independent firms. Real consolidation did not begin until 1894, when Robert Wickham Nelson, principal owner of the Throne Typesetting Machine Company and a new stockholder in ATF, became general manager. He immediately began to liquidate unprofitable ventures, eliminate duplications, and force the various branches to do business under the ATF name instead of retaining their former ones. Linn Boyd Benton's son, Morris Fuller Benton, was given the job of purging obsolete and duplicated type faces from the catalogs, and standardizing the point size and baseline of the types made. Nelson, realizing that display and advertising type (rather than the body type that was set so efficiently by the new line-casters) would be the mainstay of the foundry type business, immediately began an extensive advertising campaign and commissioned the production of new type designs. Joseph W. Phinney was put in charge of the design department and he supervised the introduction of Cushing, Howland, Bradley, and the William Morris-inspired Satanick and Jenson Oldstyle, the last of these being hugely successful. Young Benton was then commissioned to finish Lewis Buddy's Elbert Hubbard-inspired Roycroft, another successful introduction. While Phinney often