Glazing is the use of transparent colours with some sort of medium, such as madders, siennas, browns, to give richness to the depths, lower the tone in places needful, as foregrounds and such like, that come direct with all their local hues about them; it brings things forward, as scumbling sends objects back. Tone is the cast of your scale of colour, the setting of your key, the tuning of the pitchfork, to be determined on before you begin your picture, and remembered all through it; and it is the forgetting of this at times which stamps the amateur. Style.--Of course everyone has his own taste to consult in this, and what you admire you will, consciously or not, imitate, until nature rectifies it and gives you a style of your own. The artist must fluctuate among several styles, always following and trying to understand nature, even while he admires other painters, until at last the scales fall from his eyes, and he relies only on the powers given him when he least expected it. A spark of what is to be will show out here and there until the _to be_ has come. That is, unless when, in their frantic efforts to be original, painters hunt heaven and earth for the most startling effect, subject, or treatment; then they become like French cooks--continually stirring their minds for new mixtures to catch and astonish the public taste, spending all their foolish energies in the spicing of old stale thoughts. It may be we admire Sam Bough, with his versatile fancy and vigorous touch; or Lockhart, Macdonald, Fildes, &c., with their strong, healthy 'go'; or Herdman, Faed, &c., with their sweet touch and poetic minds; or Sir Noel Paton, with his exquisite drawing, radiant colouring, and originality of conception; or Waller Paton, with his purple and gold; or the late lamented Paul Chalmers, who flung everything into the scale against colour and made it weigh them down; or Harvey, who chose the moral thought; or Gustave Doré, who revels in the image. I could go on naming hosts who have styles distinct by power or affectation, for it is in the style that we show our affectation, as we do it in our walking and our talking; but I would only say that if you wish to be natural and great, think very little upon the style you would take, and more upon the thought you wish to express; be earnest in your work, and by earnestness you will forget your delivery, and so be both natural and original. And, after all, what does it matter whether people say we are like So-and-so or not, if we are doing our very best? We must find the true _peace with honour_, and the repose that ever follows honest, earnest exertions.