now often called slab serifs, and identifies the aim of creating a complementary bolder design on the oldstyle model for uses such as emphasis and headings. However, the old style antique fonts also became used for extended body text use. Although Old Style Antique faces were bolder than Old Style, the difference was not great enough that they could not be used for body text. G. Willem Ovink, a historian of type, writes in his history of the style in 1971 that: A bold Old Style was needed. This was indeed produced, almost simultaneously in Philadelphia and in Edinburgh [around 1869] in two distinct designs, both under the name of Old Style Antique. The term 'Antique' probably refers less to historical forms than to the boldness and the stubby serifs of the Egyptians [slab serifs], which were also called antiques. In the 1890s, when such faces as Caslon and Jenson had introduced the notion that all historic romans were bold, their colour and old-style basic forms made the old-style Antiques in the words of De Vinne...'now often used as fair substitutes for older styles of text types,' regardless of their unhistoric origin. The course of development is difficult to trace. These designs, for MacKellar, Smiths, & Jordan Co. in Philadelphia and Miller & Richard in Edinburgh were then copied and extended by a series of American type foundries, according to Ovink in a mixture of sizes based on the two foundries' designs. (During the period many fonts once created were copied by other foundries, in some cases probably illegally by electrotyping, making the evolution of styles complicated to track.) Ovink describes the MacKellar, Smiths, & Jordan Oldstyle Antique as being different for being slightly less bold and having an 'a' with a rounded top and a 'T' with slight curves on top. Theodore De Vinne wrote of the style in 1902 that it was "in marked favour as a text letter for books intended to have more of legibility." As Ovink notes, Old Style Antique was used by historically minded printers to emulate the solid style of fifteenth-century typefaces, and in particular to emulate the custom Golden Type used by William Morris at his Kelmscott Press. Printers of the period noted the confusion of the apparently tautologous name, one saying that it reminded him of a joke about a man who ordered café au lait with milk. By 1903 Old