All the images shown here, and Dennis' comment, illustrate what I was getting at in the other thread
The reason the type fonts don't work is that on maps made before about 1930 (OK, maybe a little earlier), no-one
used directly-set metal type. It was all hand-engraved on copper plates or hand-painted on litho stone. Except for wax-engraved maps, which used set type pressed letter-by letter into waxed plates. And while there's some very fine hand-engraved text out there, it's not the same. There's an irregularity that's created in an attempt to create regularity
with cruder instruments. This I think is the key to why all "antique style" maps we create with digital techniques ultimately fall short: the lines and the text are always too clean and consistent. And when we try to "roughen them up," we lose something: the creators of those maps were trying to get as clean and accurate a line and as consistent a type as we can now get by pushing a button, but they were working in a technology matrix that only let them get so far.
One more thing, referencing Pete's map: color. There are two ways older maps achieved color. Most were hand-colored (transparent watercolor) on one-color originals, which means all the map detail was at least outlined in black strokes. You could use details like red lines, but these had to have some sort of black reference line to draw the watercolors upon. And these hand tints were as good as the artist coloring them: you get blotches, you get errors as the painter accidentally crosses a border. It's never perfect.
The other technique, developed in the mid-19th century, was using tint stones in stone, and later zinc-sheet, lithography. Here you picked a single ink color and used it across a broad area. Now you could actually print a little detail (those red roads, for example, or a yellow highlight for lighthouses on nautical charts), but there was a problem: tight registration was not to be depended upon. So, again, all the significant detail was held in the black plate.
Also, the color inks were not our standard CMYK until around 1960. Maps used all kinds of variants, again because of registration issues (if you want colored type, it pretty much had to be one-color, so you want an ink color that works OK going solo). At the end of this era of map design, you see maps being printed in a dozen ink colors, something you never see today. You can say that CMYK will get you most of the colors you need, and it does but the effect just isn't the same.