work as the composition of a book keeps them in an unwholesome state of excitement. When you feel this coming upon you, pray remember Mr. Galton's wise traveller in unknown tracts, or the bargeman's wife in the canal-boat. Amongst the many advantages of experience, one of the most valuable is that we come to know the range of our own powers, and if we are wise we keep contentedly within them. This relieves us from the malady of eagerness; we know pretty accurately beforehand what our work will be when it is done, and therefore we are not in a hurry to see it accomplished. The coolness of old hands in all departments of labor is due in part to the cooling of the temperament by age, but it is due even more to the fulness of acquired experience, for we do not find middle-aged men so cool in situations where they feel themselves incompetent. The conduct of the most experienced painters in the management of their work is a good example of this masterly coolness, because we can see them painting in their studios whereas we cannot so easily see or so justly estimate the coolness of scientific or literary workmen. A painter of great experience will have, usually, several pictures at a time upon his easels, and pass an hour upon one, or an hour upon the other, simple as the state of the pigment invites him without ever being tempted to risk anything by hurrying a process. The ugly preparatory daubing which irritates the impatience of the beginner does not disturb _his_ equanimity; he has laid it with a view to the long-foreseen result, and it satisfies him temporarily as the right thing for the time being. If you know what is the right thing for the time being, and always do it, you are sure of the calm of the thorough workman. All his touches, except the very last touch on each work, are touches of preparation, leading gradually up to his result. Ingres used to counsel his pupils to sketch always, to sketch upon and within the first sketch till the picture came right in the end; and this was strictly Balzac's method in literature. The literary and artistic labors of these two men did not proceed so much upon the principle of travelling as upon that of cultivation. They took an idea in the rough, as a settler takes a tract from wild nature, and then they went over it repeatedly, each time pushing the cultivation of it a little farther. Scott, Horace Vernet, John Phillip, and many others, have worked rather on the principle of travelling, passing over the ground once, and leaving it, never coming back again to correct the mistakes of yesterday. Both methods of work require deliberation, but the latter needs it in the supreme degree. All very decided workers, men who did not correct, have been at the same time very deliberate workers--rapid, in the sense of accomplishing much in the course of the year, or the life, but cautious and slow and observant whilst they actually labored, thinking out very carefully every sentence before they wrote it, every