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LEJ by Calmet, and many others. It contained the first editions of some versions and parts of versions, and in other respects far excelled its predecessors; but, owing partly to the number of copies printed, partly to the errors which were detected, partly to its high price, and still more to the appearance of the great English Polyglott of Walton, the Bible of Lejay rapidly sank in public estimation, although he had expended a large fortune upon it. Le Long states that the English offered to take six hundred copies of Lejay's book, if he would sell it them at half price, and that on his refusal they determined to produce one for themselves. Numbers of copies were in consequence afterwards sold at waste-paper price. As a reward for his labours he was ennobled; after which he took orders. Lejay published nothing else, and he is said to have had destroyed all the oriental type with which his Bible had been printed, that no other printer might be able to produce so handsome a book. It is unnecessary to add that the possessors of Walton need not wish for Lejay, although more beautiful for its paper and printing.—B. H. C.  LEJEUNE,, was a celebrated musician, born at Vincennes, probably about 1540. He was composer to King Henry IV. of France, and enjoyed a high and perhaps exaggerated reputation as a composer in France. Burney considers him a learned and laborious musician, rather than a man of genius; while Fètis thinks that the fact is precisely the reverse. His Psalms in four parts, in simple counterpoint, had great success, and many editions of them have been published. He died probably about the year 1603.—E. F. R.  LEJEUNE,, Baron, a celebrated French general and painter, was born at Strasburg in 1775. He was in the atelier of Valenciennes the landscape painter, studying for that profession, when, in 1792, he was compelled to enter the army. In the Egyptian campaign he early distinguished himself, was then transferred to the artillery, and at the siege of Saragossa was made colonel. He now rose rapidly in rank, was intrusted with several special services, and gained the notice of Napoleon I., who created him a baron, and a commander of the legion of honour. At the Restoration he retired from the army. During his most active service he had never abandoned the use of the pencil, but year after year sent for exhibition a picture of the battle of Aboukir, Austerlitz, Mount Tabor (engraved by Bovinet), or some other engagement in which he had taken part. He now wholly occupied himself in painting, and his battle-pieces became extremely popular. After the revolution of 1830 Baron Le Jeune was restored to his rank of major-general in the army, and appointed director of the école des beaux arts at Toulouse, where he continued to reside till his death, February 27, 1848. He had in 1840 published a "History of the Siege of Saragossa," 1808-9. Baron Le Jeune's battle-pieces are very vigorous in design, and exhibit an acquaintance with military movements rare among painters. They consequently find warm admirers, but as works of art they are not of a high order.—J. T—e.  LEJEUNE,, a French Jesuit missionary, who laboured with much zeal but little success to convert the aborigines of Canada, was born in 1592. In his travels are to be found the first extant descriptions of the North American savages, races which have either passed or are now rapidly passing away. He died in 1664.—D. W. R.  LE KAIN. See.  * LE KEUX,, a younger brother of John Le Keux, was born June 13, 1788. Like his brother, he was apprenticed to Basire, and adopted nearly the same line of subjects, but was even more refined in execution. He engraved several most admirable plates in More's Monumental Antiquities, of which work he was part proprietor; and some in Neale's Westminster Abbey, the "Interior of Henry VII.'s chapel" in which is generally regarded as one of the very finest works of its class ever executed; but Le Keux himself considers his best work to be the exquisite little vignette of St. Herbert's Island, after Turner, in Rogers' Poems. Among the finest of his larger plates are the "Venice," after Prout; and the "St. Ursula," by Claude, in the National gallery. Among the best of his bookplates are those after Turner in Whitaker's Richmondshire; Scott's Poems and Provincial Antiquities; and the "Opening of the Sixth Seal," and others after Martin in the Annuals. Henry Le Keux retired from the profession about 1846; his last plate being the "St. Ursula" mentioned above.—J. T—e.  LE KEUX,, the eldest of a family distinguished as architectural and landscape engravers. The Le Keuxs were descended from a Huguenot family who emigrated to England on the revocation of the edict of Nantes. John Le Keux was born June 4, 1783. The son of a pewterer, he made his first essays with the graver on the quart pots of the London publicans. But at length his father yielded to the boy's entreaties for a higher order of instruction, and placed him with Basire, the antiquarian engraver, with whom he remained four years. His first independent employment was on the plates to Brewer's Antiquities of England. In 1808 he was engaged by John Britton to engrave several of the plates to his Architectural Antiquities, and thenceforward the two were closely associated as author and engraver, and in several cases commercially as partners. For Britten's Architectural and Cathedral Antiquities John Le Keux executed in ail about four hundred plates, mostly of a quarto size and carefully finished. For Pugin's Architectural Antiquities of Normandy, in which he held a share, he engraved about fifty plates, and several for his Gothic Examples. For Neale's Churches and Westminster Abbey he also engraved numerous plates. The plates to Ingram's Memorials of Oxford, and the companion volumes, Memorials of Cambridge, published by himself, were all engraved by him. Of his other plates may be mentioned as among the best productions of his burin, a view of Rome, and another of Easby abbey, after Turner; some private plates for the earl of Bridgewater; and a view of Hartlepool church for Surtees' Durham. John Le Keux was a man of remarkable industry, often working sixteen hours a day; and so conscientious in the execution of his work, that in scarcely one of the many plates which he engraved before illness had enfeebled his hand, can any signs of haste or carelessness be detected. As an engraver of mediæval architecture he eclipsed all his predecessors. At once accurate, refined, and brilliant in execution, and heartily admiring the architecture he had to delineate, he was able to imbue his work with the feeling of intelligent sympathy which distinguishes the labour of the true artist from that of the clever mechanician. There can be little doubt that to the admirable plates of John Le Keux, the great revival of the interest in Gothic architecture was in a large measure due. He died April 2, 1846.—J. T—e.  * LE KEUX,, son of John Le Keux, was born March 23, 1812. Trained in his father's office, he has followed in his track, adapting his style of working, however, to the altered conditions of the times. He has perhaps executed more plates than both his father and uncle, and though necessarily less refined in finish, his unusual acquaintance with the resources of his art enables him to impart to them equal truth and spirit. An excellent draftsman, many of his best plates—including the well-known series of the Oxford Almanac—are engraved from his own drawings. He has engraved, besides a set of ten plates of the Travellers' club-house, a series of Northamptonshire churches; several plates for Ruskin's Modern Painters, and Stones of Venice; Parker's and Billing's architectural works; Heath's Annuals, &c.; several hundred for the serials of Messrs. Virtue, Weale, Blackie, &c.; and thirty-one for a large work on Throndjem cathedral, published by the Norwegian government. He invented and patented a process of printing from two steel plates, by which prints could be issued as cheap as lithographs; but, fancying that it would interfere with the better class of work, he did not carry it out commercially. Le Keux has written several papers on mediæval armour and ornamental metal-work, which have appeared in the Journal of the Archæological Institute and the Proceedings of other antiquarian societies.—J. T—e. <section end="168H" /> <section begin="168Zcontin" />LELAND or LAYLONDE,, one of the earliest and most laborious of English antiquarians, was a native of London, and was born early in the sixteenth century. 'While yet a child he lost both his parents, but was supported by a Mr. Thomas Miles, who sent him to St. Paul's school, where, as he himself remarks in his "Encomia," the famous William Lily was master. From St. Paul's school he went to Christ's college, Cambridge; and some years later removed to Oxford, and became a member of All Souls. During this period he acquired a knowledge of several languages; and, on leaving Oxford, he went to Paris still further to add to his linguistic attainments, and especially to study Greek more thoroughly. While at Paris he made the acquaintance of several eminent scholars, as it would appear, much to his advantage. He took orders on his return, and was appointed rector of Poppeling or Popering in Calais marches in 1530. He was also chosen by Henry VIII. as one of his chaplains, librarian, and king's antiquary, which <section end="168Zcontin" />