'The Church of Scotland as she was, and as she is' (John Macleod Memorial lecture for 1903); in an address on 'The Vocation of the Church' at the Church of Scotland Congress, 1890, and in devout and practical lectures on pastoral theology which were delivered by appointment of the general assembly at the four Scottish universities, 1895-7, and are not yet published. He was moderator of the general assembly of 1898, where the archbishop of Canterbury, Dr. Temple, pleaded the cause of temperance. The speeches of both Temple and Leishman on the occasion were published in a pamphlet.
Leishman's third son, James Fleming, was ordained to succeed him at Linton (7 March 1895), and thereupon Leishman removed to Edinburgh. There he died on 13 July 1904, and was buried at Linton. At Hoselaw, in a remote corner of the parish where Leishman used to conduct cottage services, a chapel was erected by public subscription to his memory in 1906 (Scot. Ecclesiological Soc. Trans, iii. 90). Leishman married, on Lady Day 1857, his cousin, Christina Balmanno Fleming, who died on 15 June 1868. Five sons and two daughters survived him.
Leishman, whose manners abounded in gentle dignity, was described by A. K. H. Boyd [q. v. Suppl. I] as 'the ideal country parson, learned, devout, peace-loving, pretty close to the first meridian of clergyman and gentleman.' A fine photograph hangs in the moderators' portrait gallery in the Assembly Hall, High Street, Edinburgh.
Besides the works mentioned, Leishman contributed to the Church Service Society's series of Scottish liturgies and orders of divine service, an edition with introduction and notes of the Westminster Directory (Edinburgh, 1901).
[Diaries and correspondence in possession of his son; personal knowledge; Border Mag. iii. 28; publications of the Scottish Church Society; Blackwood's Mag., Nov. 1897; New Liturgies of the Scottish Kirk; Funeral Sermon by Rev. Dr. Sprott.]
LE JEUNE, HENRY (1819–1904), historical and genre painter, born in London on 12 Dec. 1819, was of Flemish extraction, being the third of the five children of Anthony Le Jeune. His grandfather, his father, and his brothers were professional musicians. His brothers occupied posts as organists at Farm Street, and Sardinian and Moorfields chapels. His sister gave up music for. photography, at which she worked nearly all her life at Naples; Garibaldi was among her sitters. Le Jeune himself showed pronounced musical tastes, but at an early age he evinced a desire to become an artist, and was sent to study at the British Museum. In 1834 he was admitted as a student at the Royal Academy schools; there, after obtaining four silver medals in succession, he was awarded the gold medal in 1841 for his painting of 'Samson bursting his Bounds,' which was shown at the British Institution in the following year. He first exhibited at the Royal Academy in 1840, sending a picture of 'Joseph interpreting the Dream of Pharaoh's Chief Butler.' In 1847 the Prince Consort purchased his 'Liberation of the Slaves.'
From 1845 to 1848 he was headmaster of the morning class at the government school of design at Somerset House, and from 1848 until 1864 curator of the painting school of the Royal Academy, an office which included the duty of giving instruction in painting. In 1863 he was elected an A.R. A., but he never attained the rank of academician. In 1886 he became an honorary retired associate.
Le Jeune painted both in oil and water-colour. He exhibited eighty-four pictures at the Royal Academy between 1840 and 1894, twenty-one at the British Institution between 1842 and 1863, and a few at other galleries. The subjects of his earlier paintings were principally derived from the Bible, Shakespeare, or Spenser, and included 'The Infancy of Moses,' 'Una and the Lion' (1842), 'Prospero and Miranda' (1844), 'Ruth and Boas' (1845), and 'The Sermon on the Mount' (1851). Subsequently he devoted him- self to child subjects, and it was as a painter of children that he was mainly known. His figures are well grouped, gracefully drawn, and carefully finished. To the later phase of his work belong 'Little Red Riding Hood' (1863), 'The Wounded Robin' (1864), 'Little Bo-Peep' (1873 and 1881), and 'My Little Model' (1875). One of his best works was 'Much Ado about Nothing' (1873), a fishing party of three children seated catching minnows on an old river sluice. One of his early paintings of scriptural subjects, 'Ye Daughters of Israel, weep over Saul' (1846), is at the Royal Museum and Art Galleries, Feel Park, Salford. The Royal Holloway College, Egham, has one of his genre pictures, 'Early Sorrow' (1869); and another, his 'Children with Toy Boat,' is in the Manchester City Art Gallery. He painted a few portraits.
