Do you like to glaze?

Glazing is a traditional oil and tempera technique, the term also used by watercolourists (who have to be particularly skilful to get it right) and - as David Hockney pointed out - is extremely effective as a technique in acrylic (because of course there's no hanging about waiting for the paint to dry: look away for a minute, and it usually has). I know nothing about tempera - never tried it.  I wonder though whether many of us employ glazes in oil painting - or if we're all into alla prima, premier coup, work nowadays.... (I can imagine the late Syd Edward seething at this: "Why use foreign words when English is good enough?"  I thought of him today when employing a rather necessary dollop of Pthalo Green - he hated the stuff - couldn't understand why anyone would pollute their palettes with it: but I digress). I think that back in the pre-Impressionist day, even quite traditional painters used more varied methods than we might imagine; but certainly glazing with transparent colour over monochrome underpainting was commonly employed; the difficulty being waiting for the paint to dry.  But then - many of the big set-piece paintings were SO big, designed for palaces, cathedrals, and at worst large houses, that one passage could well be dry or drying while you worked on another; and anyway, they didn't have cadmium or titanium-based paints - or Alizarin Crimson - which can take a day and an age to be touch-dry.  I do very occasionally paint this way myself, and wonder if others do - and if you do, how do you do it?  Do you use a glaze medium, or just use transparent colour, thinly applied?  I read the US painter Virgil Elliott advises the latter method: he's not keen on mediums other than Linseed or, at a pinch, Walnut oil  - just applies the glazing colour and brushes it out until he's got the effect he was after.   That in itself would speed up drying time between glazes (if you avoided very slow-drying colours, of course).  Do any of us regularly do this sort of thing?