adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model the old "Puffing Billy", now so carefully preserved in the Patent Museum at South Kensington. One influential example in the late nineteenth century was William Morris's Kelmscott Press, which commissioned new custom fonts such as his Golden Type on medieval and early Renaissance models. Many fine press printers imitated his model, and while some printers such as Stanley Morison in the twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing a thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves." Frederic Goudy, an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about the lettering style. While he mentioned Bodoni in his book Elements of Lettering, he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages [had] the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality" As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving a white line in the centre of the thick strokes. He hoped this design, Goudy Open, would leave a lighter colour (density of ink) on the paper. Nonetheless, Didone designs have remained in use, and the genre is recognised on the VOX-ATypI classification system of typefaces and by the Association Typographique Internationale (AtypI). The genre remains particularly popular for general-purpose use in the