typefaces came to dominate printing by the middle of the nineteenth century, although some "old style" faces continued to be sold and new ones developed by typefounders. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past. Many historians of printing have been critical of the later Didone faces popular in general-purpose printing of the nineteenth century, especially following the reaction of the twentieth century against Victorian styles of art and design. Nicolete Gray has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and descenders grow longer, the letters crowd together; the normal mid nineteenth-century book is typographically dreary. The Victorians lost the idea of good type to read." Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen". Stanley Morison of the printing equipment company Monotype, a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of the eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been." Display derivatives Driven by the increasing popularity of advertising, whether printed or custom lettering, the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces. These included the sans-serif, slab-serif and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the roman type form. Known as 'fat faces', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively. Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of the fat face letter, and the pre-existing inline types with a line inside the type. Displacement Didone fonts began to decline in popularity for general use, especially in the English-speaking world, around the end of the nineteenth century. The rise of the slab serif and sans-serif genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by