"T. CARLYLE."

Carlyle's last public utterances were a letter on the Eastern
Question, addressed to Mr. George Howard, and printed in the Times
of November 28, 1876, and a letter to the Editor of the Times, on
"The Crisis," printed in that journal on May 5, 1877.

He was now beginning to feel the effects of his great age. Yearly and monthly he grew more feeble. His wonted walking exercise had to be curtailed, and at last abandoned. He was affectionately and piously tended during these last years by his niece, Mary Aitken, now Mrs. Alexander Carlyle. In the autumn of 1879 he lost his brother, Dr. John Aitken Carlyle, the translator of Dante's "Inferno."

The end came at last, after a long and gradual decay of strength. The great writer and noble-hearted man passed away peacefully at about half-past eight o'clock on the morning of Saturday, February 5, 1881, in the eighty-sixth year of his age.

His remains were conveyed to Scotland, and were laid in the burial-ground at Ecclefechan, where the ashes of his father and mother, and of others of his kindred, repose. He had executed what is known in Scotch law as a "deed of mortification," by virtue of which he bequeathed to Edinburgh University the estate of Craigenputtoch—which had come to him through his wife—for the foundation of ten Bursaries in the Faculty of Arts, to be called the "John Welsh Bursaries." In his Will he bequeathed the books which he had used in writing on Cromwell and Friedrich to Harvard College, Massachusetts.

In less than a month after his death, with a haste on many accounts to be deplored, and which has excited much animadversion, his literary executor, Mr. James Anthony Froude, the historian, issued two volumes of posthumous "Reminiscences," written by Carlyle, partly in 1832, and partly in 1866-67. The first section consists of a memorial paper, written immediately after his father's death; the second contains Reminiscences of his early friend, Edward Irving, commenced at Cheyne Row in the autumn of 1866, and finished at Mentone on the 2nd January, 1867. The Reminiscences of Lord Jeffrey were begun on the following day, and finished on January 19. The paper on Southey and Wordsworth, relegated to the Appendix, was also written at Mentone between the 28th January and the 8th March, 1867. The Memorials of his wife, which fill the greater part of the second volume, were written at Cheyne Row, during the month after her death.

Of the earlier portraits of Carlyle three are specially interesting, 1. The full-length sketch by "Croquis" (Daniel Maclise) which formed one of the Fraser Gallery portraits, and was published in the magazine in June, 1833. (The original sketch of this is now deposited in the Forster Collection at South Kensington.) 2. Count D'Orsay's sketch, published by Mitchell in 1839, is highly characteristic of the artist. It was taken when no man of position was counted a dutiful subject who did not wear a black satin stock and a Petersham coat. The great author's own favourite among the early portraits was 3. the sketch by Samuel Laurence, engraved in Horne's "New Spirit of the Age," published in 1844. Since the art of photography came into vogue, a series of photographs of various degrees of merit and success have been executed by Messrs. Elliott and Fry, and by Watkins. The late Mrs. Cameron also produced a photograph of him in her peculiar style, but it was not so successful as her fine portrait of Tennyson. An oil-painting by Mr. Watts, exhibited some fifteen years ago, and now also forming part of the Forster Collection at South Kensington, is remarkable for its weird wildness; but it gave great displeasure to the old philosopher himself! More lately we have a remarkable portrait by Mr. Whistler, who seized the tout ensemble of his illustrious sitter's character and costume in a very effective manner. The terra cotta statue by Mr. Boehm, exhibited at the Royal Academy in 1875, has received such merited meed of enthusiastic praise from Mr. Ruskin that it needs no added praise of ours. It has been excellently photographed from two points of view by Mr. Hedderly, of Riley Street, Chelsea.

One of the best and happiest of the many likenesses of Mr. Carlyle that appeared during the last decade of his life was a sketch by Mrs. Allingham—a picture as well as a portrait—representing the venerable philosopher in a long and picturesque dressing-gown, seated on a chair and poring over a folio, in the garden at the back of the quaint old house at Chelsea, which will henceforth, as long as it stands, be associated with his memory. Beside him on the grass lies a long clay pipe (a churchwarden) which he has been smoking in the sweet morning air. So that altogether, as far as pictorial, graphic, and photographic art can go, the features, form, and bodily semblance of Carlyle will be as well known to future generations as they are to our own.

* * * * *

The impression of his brilliant and eloquent talk, though it will perhaps remain, for at least half a century to come, more or less vivid to some of those of the new generation who were privileged to hear it, will, of course, gradually fade away. But it seems hardly probable that the rich legacy of his long roll of writings—historical, biographical, critical—can be regarded as other than a permanent one, in which each succeeding generation will find fresh delight and instruction. The series of vivid pictures he has left behind in his "French Revolution," in his "Cromwell," in his "Frederick," can hardly become obsolete or cease to be attractive; nor is such power of word-painting likely soon to be equalled or ever to be surpassed. The salt of humour that savours nearly all he wrote (that lambent humour that lightens and plays over the grimmest and sternest of his pages) will also serve to keep his writings fresh and readable. Many of his dicta and opinions will doubtless be more and more called in question, especially in those of his works which are more directly of a didactic than a narrative character, and in regard to subjects which he was by habit, by mental constitution, and by that prejudice from which the greatest can never wholly free themselves, incapable of judging broadly or soundly,—such, for instance, as the scope and functions of painting and the fine arts generally, the value of modern poetry, or the working of Constitutional and Parliamentary institutions.