unless 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 of a letter.

15. When a paragraph commences where it is not intended, connect the
matter by a line, and write in the margin opposite _run on_.

16. Where a space or a quadrat stands up and appears, draw a line
under it, and make a strong perpendicular line in the margin.

17. When a letter 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 _w.f._, for 'wrong fount.'

18. The marks for a paragraph, when its commencement has been
omitted.

19. When a word or 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 between two words.

21. To change a word from small letters to small capitals, 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 inverted
commas.

23. The manner of marking an omitted passage 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.

When corrected, the passage given above would read as follows--

ANTIQUITY, like every other quality that attracts the notice of
mankind, has undoubtedly votaries that _reverence_ it, not from
reason, but from prejudice. Some seem to admire indiscriminately
whatever has been long preserved, without considering that time has
sometimes co-operated with chance: all perhaps are more willing to
honour past than present excellence; and the mind contemplates 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 ra