PRINTING 



G47 



1. Where a word is to be changed from small let- 

 ters to capitals, draw three lines under it, and write 

 caps, in the margin. 



2. Where there is a wrong letter, draw the pen through 

 that letter, and make the right one opposite m the 

 margin. 



3. A letter turned upside down. 



4. The substitution of a comma for another point, or for 

 a letter put in by mistake. 



5. The insertion of a hyphen. 



6. To draw the letters of a word close together. 



7. To take away a superfluous letter or word the pen is 

 struck through it. and a round top d made opposite, being 

 the contraction of deleatur, to expunge. 



8. Where a word has to be changed to Italic draw aline 

 under it, and write Ital. in the margin ; and where a word 

 lias to be changed from Italic to Roman, write Bom. 

 opposite. 



9. When words are to be transposed three ways of mark- 

 ing them are shown; but they are not usually numbered 

 except more than three words have their order changed. 



10. The transposition of letters in a word. 



11. To change one word for another. 



12. The substitution of a period or a colon for any other 

 point. It is customary to encircle these two points with a 

 line. 



13. The substitution of a capital for a small letter. 



14. The insertion of a word, or a letter. 



15. When a paragraph commences where it is not in- 

 tended, connect the matter by a line, and write in the 

 margin opposite run OH. 



16. Where a space or a quadrat stands up and appear?, 

 draw a line under it, and make a strong perpendicular 

 line in the margin. 



17. Whenaletter of a different size from that used, or of 

 a different face, appears in a word, draw a line either 

 through it or under it, and write opposite ti/., for "wrong 

 fount.' 



18. The marks for a paragraph, when its commence- 

 ment has been omitted. 



19. When one or more words have been struck out, and 

 it is subsequently decided that they shall remain, make 

 dots under them, and write the word stet in the margin. 



20. The mark for a space where it has been omitted be- 

 tween two words. 



21. To change a word from small letters to small capi- 

 tals make two lines under the word, and write sm. caps. 

 opposite. To change a word from small capitals to small 

 letters make one line under the word, and write in the 

 margin lo. ca. for ' lower case.' 



22. The mark for the apostrophe ; and also the marks 

 for turned commas, which designate extracts. 



23. The manner of marking an omission, or an insertion, 

 when it is too long to be written in the side margin. 

 When this occurs it may be written either at the top or 

 the bottom of the page. 



24. Marks when lines or words are not straight. 



The subjoined specimen, when corrected, would be as 

 follows : 



ANTIQUITY, like every other quality 

 that attracts the notice of mankind, has un- 

 doubtedly votaries that reverence it, not from 

 reason, but from prejudice. Some seem to 

 admire indiscriminately whatever has been 

 long preserved, -without cpnsidering that 

 time has sometimes co-operated with chance : 

 all perhaps are more willing to honour past 

 than present excellence ; and the mind con- 

 templates genius through the shades of age, 

 as the eye surveys the sun through artificial 

 opacity. The great contention of criticism 

 is to find the faults of the moderns/and the 

 beauties of the ancients. While an author 

 is yet living, we estimate his powers'by his 

 worst performances ; and when he is dead, 

 we rate them by his best. 



To works, however, of which the excel- 

 lence is notabsolute and definite, but gradual 

 and comparative ; to works, not raised upon 

 principles demonstrative and scientific, but 

 appealing wholly to obse vation and experi- 

 ence, no other test can be applied than LENGTH 

 of duration aud continuance of esteem. 







Autiquity, like every other \cafid 

 quality that attr/cts the notice * 



of ^uankind, has undoubtedly $ 

 votaries that reverence it, not 

 from reason/ but from preju- )/ 



dice, some seem to admire 



^ c 



indiscriminately .whatever has J" 



been long pr/served, without 

 considering that time has some A 

 times co-operated with chance: 

 all perhaps are more willing to 

 honour ^present\than/p as i\ ex- /# 

 cellence ; and the ^thc: mind 

 contemplates genj^/rs through 

 the shades of age, as the eye 

 wws-the sun through artificial 

 opacitjr/^he great contention 

 of criticism is to find the faults 



"I 



10 



of the moderns,. the beauties 

 of the ancients A 

 C While an auror is yet living, 

 we estimate|his powers by his 

 worst performances ; and when 

 he is dead* (To works, however, 

 of which /the excellence is not 

 gradual j but absolute and defi- 

 nitejandkomparative ; to works, ;/ 



s- -. ^x /,9 



(raised notj\ upon principles de- fa 



/ \ 19 



pionstrative) and scientific, but dkt 



appealing /wholly to observa- .>o 



tion and (experience, nojother //" 

 / / -\ A -'i 



\ - 



bejapplied than length Jm> 



/ M 



J 



/ / 



of diction and continuance of 



