He is above the middle size, stoops slightly, dresses carefully, but without any approach to foppery. His address, somewhat high and distant at first, softens into simplicity and cordial kindness. His conversation is abundant, inartificial, flowing on, and warbling as it flows, more practical than you would expect from the cast of his writings—picturesque and graphic in a high measure—full of the results of extensive and minute observation—often terribly direct and strong, garnished with French and German phrase, rendered racy by the accompaniment of the purest Annandale accent, and coming to its climaxes, ever and anon, in long, deep, chest-shaking bursts of laughter. Altogether, in an age of singularities, Thomas Carlyle stands peculiarly alone. Generally known, and warmly appreciated, he has of late become—popular, in the strict sense, he is not, and may never be. His works may never climb the family library, nor his name become a household word; but while the Thomsons and the Campbells shed their gentle genius, like light, into the hall and the hovel—the shop of the artisan and the sheiling of the shepherd, Carlyle, like the Landors and Lambs of this age, and the Brownes and Burtons of a past, will exert a more limited but profounder power—cast a dimmer but more gorgeous radiance—attract fewer but more devoted admirers, and obtain an equal, and perhaps more enviable immortality. To the foregoing sketch of CARLYLE, which is from the eloquent critical description of Gilfillan, we append the following, which is from a letter recently published in the Dumfries and Galloway Courier. The writer, after remarking at some length upon the “Latter Day Pamphlets,” which are Carlyle’s latest productions, proceeds to give this graphic and interesting sketch of his personal appearance and conversation: