Part 49

LEE (or LEGH) ROWLAND (d. 1543), English bishop, belonged to a Northumberland family and was educated at Cambridge. Having entered the Church he obtained several livings owing to the favour of Cardinal Wolsey; after Wolsey's fall he rose high in the esteem of Henry VIII. and of Thomas Cromwell, serving both king and minister in the business of suppressing the monasteries, and he is said to have celebrated Henry's secret marriage with Anne Boleyn in January 1533. Whether this be so or not, Lee took part in preparing for the divorce proceedings against Catherine of Aragon, and in January 1534 he was elected bishop of Coventry and Lichfield, or Chester as the see was often called, taking at his consecration the new oath to the king as head of the English Church and not seeking confirmation from the pope. As bishop he remained in Henry's personal service, endeavouring to establish the legality of his marriage with Anne, until May 1534, when he was appointed lord president of the council in the marches of Wales. At this time the Welsh marches were in a very disorderly condition. Lee acted in a stern and energetic fashion, holding courts, sentencing many offenders to death and overcoming the hostility of the English border lords. After some years of hard and successful work in this capacity, "the last survivor of the old martial prelates, fitter for harness than for bishops' robes, for a court of justice than a court of theology," died at Shrewsbury in June 1543. Many letters from Lee to Cromwell are preserved in the Record Office, London; these throw much light on the bishop's career and on the lawless condition of the Welsh marches in his time.

One of his contemporaries was EDWARD LEE (c. 1482-1544) archbishop of York, famous for his attack on Erasmus, who replied to him in his _Epistolae aliquot eruditorum virorum_. Like Rowland, Edward was useful to Henry VIII. in the matter of the divorce of Catherine of Aragon, and was sent by the king on embassies to the emperor Charles V. and to Pope Clement VII. In 1531 he became archbishop of York, but he came under suspicion as one who disliked the king's new position as head of the English Church. At Pontefract in 1536, during the Pilgrimage of Grace, the archbishop was compelled to join the rebels, but he did not sympathize with the rising and in 1539 he spoke in parliament in favour of the six articles of religion. Lee, who was the last archbishop of York to coin money, died on the 13th of September 1544.

LEE, SIDNEY (1859- ), English man of letters, was born in London on the 5th of December 1859. He was educated at the City of London school, and at Balliol College, Oxford, where he graduated in modern history in 1882. In the next year he became assistant-editor of the _Dictionary of National Biography_. In 1890 he was made joint-editor, and on the retirement of Sir Leslie Stephen in 1891 succeeded him as editor. He was himself a voluminous contributor to the work, writing some 800 articles, mainly on Elizabethan authors or statesmen. While he was still at Balliol he wrote two articles on Shakespearian questions, which were printed in the _Gentleman's Magazine_, and in 1884 he published a book on Stratford-on-Avon. His article on Shakespeare in the fifty-first volume (1897) of the _Dictionary of National Biography_ formed the basis of his _Life of William Shakespeare_ (1898), which reached its fifth edition in 1905. Mr Lee edited in 1902 the Oxford facsimile edition of the first folio of _Shakespeare's Comedies, Histories and Tragedies_, followed in 1902 and 1904 by supplementary volumes giving details of extant copies, and in 1906 by a complete edition of Shakespeare's _Works_. Besides editions of English classics his works include a _Life of Queen Victoria_ (1902), _Great Englishmen of the Sixteenth Century_ (1904), based on his Lowell Institute lectures at Boston, Mass., in 1903, and _Shakespeare and the Modern Stage_ (1906).

LEE, SOPHIA (1750-1824), English novelist and dramatist, daughter of John Lee (d. 1781), actor and theatrical manager, was born in London. Her first piece, _The Chapter of Accidents_, a one-act-opera based on Diderot's _Père de famille_, was produced by George Colman at the Haymarket Theatre on the 5th of August 1780. The proceeds were spent in establishing a school at Bath, where Miss Lee made a home for her sisters. Her subsequent productions included _The Recess, or a Tale of other Times_ (1785), a historical romance; and _Almeyda, Queen of Grenada_ (1796), a tragedy in blank verse; she also contributed to her sister's _Canterbury Tales_ (1797). She died at her house near Clifton on the 13th of March 1824.

Her sister, HARRIET LEE (1757-1851), published in 1786 a novel written in letters, _The Errors of Innocence_. _Clara Lennox_ followed in 1797. Her chief work is the _Canterbury Tales_ (1797-1805), a series of twelve stories which became very popular. Lord Byron dramatized one of the tales, "Kruitzner," as _Werner, or the Inheritance_. She died at Clifton on the 1st of August 1851.

LEE, STEPHEN DILL (1833-1908), Confederate general in the American Civil War, came of a family distinguished in the history of South Carolina, and was born at Charleston, S.C., on the 22nd of September 1833. Graduating from West Point in 1854, he served for seven years in the United States army and resigned in 1861 on the secession of South Carolina. He was aide de camp to General Beauregard in the attack on Fort Sumter, and captain commanding a light battery in General Johnston's army later in the year 1861. Thereafter, by successive steps, each gained by distinguished conduct on the field of battle, he rose to the rank of brigadier-general in November 1862, being ordered to take command of defences at Vicksburg. He served at this place with great credit until its surrender to General Grant in July 1863, and on becoming a prisoner of war, he was immediately exchanged and promoted major-general. His regimental service had been chiefly with artillery, but he had generally worked with and at times commanded cavalry, and he was now assigned to command the troops of that arm in the south-western theatre of war. After harassing, as far as his limited numbers permitted, the advance of Sherman's column on Meridian, he took General Polk's place as commander of the department of Mississippi. In June 1864, on Hood's promotion to command the Army of Tennessee, S. D. Lee was made a lieutenant-general and assigned to command Hood's old corps in that army. He fought at Atlanta and Jonesboro and in the skirmishing and manoeuvring along middle Tennessee which ended in the great crisis of Nashville and the "March to the Sea." Lee's corps accompanied Hood in the bold advance to Nashville, and fought in the battles of Franklin and Nashville, after which, in the rout of the Confederate army Lee kept his troops closed up and well in hand, and for three consecutive days formed the fighting rearguard of the otherwise disintegrated army. Lee was himself wounded, but did not give up the command until an organized rearguard took over the post of danger. On recovery he joined General J. E. Johnston in North Carolina, and he surrendered with Johnston in April 1865. After the war he settled in Mississippi, which was his wife's state and during the greater part of the war his own territorial command, and devoted himself to planting. He was president of the Agricultural and Mechanical College of Mississippi from 1880 to 1899, took some part in state politics and was an active member--at the time of his death commander-in-chief--of the "United Confederate Veterans" society. He died at Vicksburg on the 28th of May 1908.

LEE, a township of Berkshire county, in western Massachusetts, U.S.A. Pop. (1900) 3596; (1905) 3972; (1910) 4106. The township is traversed by the New York, New Haven & Hartford railway, covers an area of 22½ sq. m., and includes the village of Lee, 10 m. S. of Pittsfield, East Lee, adjoining it on the S.E., and South Lee, about 3 m. to the S.W. Lee and South Lee are on, and East Lee is near, the Housatonic river. The eastern part of the township is generally hilly, reaching a maximum altitude of about 2200 ft., and there are two considerable bodies of water--Laurel Lake in the N.W. (partly in Lenox) and Goose Pond, in the S.E. (partly in Tyringham). The region is healthy as well as beautiful, and is much frequented as a summer resort. Memorial Hall was built in memory of the soldiers from Lee who died during the Civil War. The chief manufactures are paper and wire, and from the quarries near the village of Lee is obtained an excellent quality of marble; these quarries furnished the marble for the extension of the Capitol at Washington, for St Patrick's cathedral in New York City and for the Lee High School and the Lee Public Library (1908). Lime is quarried in the township. Lee was formerly a paper-manufacturing place of great importance. The first paper mill in the township was built in South Lee in 1806, and for a time more paper was made in Lee than in any other place in the United States; the Housatonic Mill in Lee was probably the first (1867) in the United States to manufacture paper from wood pulp.

The first settlement within the present township of Lee was made in 1760. The township was formed from parts of Great Barrington and Washington, was incorporated in 1777 and was named in honour of General Charles Lee (1731-1782). In the autumn of 1786 there was an encounter near the village of East Lee between about 250 adherents of Daniel Shays (many of them from Lee township) and a body of state troops under General John Paterson, wherein the Shays contingent paraded a bogus cannon (made of a yarn beam) with such effect that the state troops fled.

See Amory Gale, _History of the Town of Lee_ (Lee, 1854), and _Lee, The Centennial Celebration and Centennial History of the Town of Lee_ (Springfield, Mass., 1878), compiled by Charles M. Hyde and Alexander Hyde.

LEE. (1) (In O. Eng. _hléo_; cf. the pronunciation _lew-ward_ of "leeward"; the word appears in several Teutonic languages; cf. Dutch _lij_, Dan. _lae_), properly a shelter or protection, chiefly used as a nautical term for that side of a ship, land, &c., which is farthest from the wind, hence a "lee shore," land under the lee of a ship, i.e. one on which the wind blows directly and which is unsheltered. A ship is said to make "leeway" when she drifts laterally away from her course. (2) A word now always used in the plural "lees," meaning dregs, sediment,

## particularly of wine. It comes through the O. Fr. _lie_ from a Gaulish

Lat. _lia_, and is probably of Celtic origin.

LEECH, JOHN (1817-1864), English caricaturist, was born in London on the 29th of August 1817. His father, a native of Ireland, was the landlord of the London Coffee House on Ludgate Hill, "a man," on the testimony of those who knew him, "of fine culture, a profound Shakespearian, and a thorough gentleman." His mother was descended from the family of the famous Richard Bentley. It was from his father that Leech inherited his skill with the pencil, which he began to use at a very early age. When he was only three, he was discovered by Flaxman, who had called on his parents, seated on his mother's knee, drawing with much gravity. The sculptor pronounced his sketch to be wonderful, adding, "Do not let him be cramped with lessons in drawing; let his genius follow its own bent; he will astonish the world"--an advice which was strictly followed. A mail-coach, done when he was six years old, is already full of surprising vigour and variety in its galloping horses. Leech was educated at Charterhouse, where Thackeray, his lifelong friend, was his schoolfellow, and at sixteen he began to study for the medical profession at St Bartholomew's Hospital, where he won praise for the accuracy and beauty of his anatomical drawings. He was then placed under a Mr Whittle, an eccentric practitioner, the original of "Rawkins" in Albert Smith's _Adventures of Mr Ledbury_, and afterwards under Dr John Cockle; but gradually the true bent of the youth's mind asserted itself, and he drifted into the artistic profession. He was eighteen when his first designs were published, a quarto of four pages, entitled _Etchings and Sketchings by A. Pen, Esq._, comic character studies from the London streets. Then he drew some political lithographs, did rough sketches for _Bell's Life_, produced an exceedingly popular parody on Mulready's postal envelope, and, on the death of Seymour, applied unsuccessfully to illustrate the _Pickwick Papers_. In 1840 Leech began his contributions to the magazines with a series of etchings in _Bentley's Miscellany_, where Cruikshank had published his splendid plates to _Jack Sheppard_ and _Oliver Twist_, and was illustrating _Guy Fawkes_ in sadly feebler fashion. In company with the elder master Leech designed for the _Ingoldsby Legends_ and _Stanley Thorn_, and till 1847 produced many independent series of etchings. These cannot be ranked with his best work; their technique is exceedingly imperfect; they are rudely bitten, with the light and shade out of relation; and we never feel that they express the artist's individuality, the _Richard Savage_ plates, for instance, being strongly reminiscent of Cruikshank, and "The Dance at Stamford Hall" of Hablot Browne. In 1845 Leech illustrated _St Giles and St James_ in Douglas Jerrold's newly started _Shilling Magazine_, with plates more vigorous and accomplished than those in _Bentley_, but it is in subjects of a somewhat later date, and especially in those lightly etched and meant to be printed with colour, that we see the artist's best powers with the needle and the acid. Among such of his designs are four charming plates to Dickens's _Christmas Carol_ (1844), the broadly humorous etchings in the _Comic History of England_ (1847-1848), and the still finer illustrations to the _Comic History of Rome_ (1852)--which last, particularly in its minor woodcuts, shows some exquisitely graceful touches, as witness the fair faces that rise from the surging water in "Cloelia and her Companions Escaping from the Etruscan Camp." Among the other etchings which deserve very special reference are those in _Young Master Troublesome or Master Jacky's Holidays_, and the frontispiece to _Hints on Life, or How to Rise in Society_ (1845)--a series of minute subjects linked gracefully together by coils of smoke, illustrating the various ranks and conditions of men, one of them--the doctor by his patient's bedside--almost equalling in vivacity and precision the best of Cruikshank's similar scenes. Then in the 'fifties we have the numerous etchings of sporting scenes, contributed, together with woodcuts, to the _Handley Cross_ novels.

Turning to Leech's lithographic work, we have, in 1841, the _Portraits of the Children of the Mobility_, an important series dealing with the humorous and pathetic aspects of London street Arabs, which were afterwards so often and so effectively to employ the artist's pencil. Amid all the squalor which they depict, they are full of individual beauties in the delicate or touching expression of a face, in the graceful turn of a limb. The book is scarce in its original form, but in 1875 two reproductions of the outline sketches for the designs were published--a lithographic issue of the whole series, and a finer photographic transcript of six of the subjects, which is more valuable than even the finished illustrations of 1841, in which the added light and shade is frequently spotty and ineffective, and the lining itself has not the freedom which we find in some of Leech's other lithographs, notably in the _Fly Leaves_, published at the _Punch_ office, and in the inimitable subject of the nuptial couch of the Caudles, which also appeared, in woodcut form, as a political cartoon, with Mrs Caudle, personated by Brougham, disturbing by untimely loquacity the slumbers of the lord chancellor, whose haggard cheek rests on the woolsack for pillow.

But it was in work for the wood-engravers that Leech was most prolific and individual. Among the earlier of such designs are the illustrations to the _Comic English_ and _Latin Grammars_ (1840), to _Written Caricatures_ (1841), to Hood's _Comic Annual_, (1842), and to Albert Smith's _Wassail Bowl_ (1843), subjects mainly of a small vignette size, transcribed with the best skill of such woodcutters as Orrin Smith, and not, like the larger and later _Punch_ illustrations, cut at speed by several engravers working at once on the subdivided block. It was in 1841 that Leech's connexion with _Punch_ began, a connexion which subsisted till his death on the 29th of October 1864, and resulted in the production of the best-known and most admirable of his designs. His first contribution appeared in the issue of the 7th of August, a full-page illustration--entitled "Foreign Affairs"--of character studies from the neighbourhood of Leicester Square. His cartoons deal at first mainly with social subjects, and are rough and imperfect in execution, but gradually their method gains in power and their subjects become more distinctly political, and by 1849 the artist is strong enough to produce the splendidly humorous national personification which appears in "Disraeli Measuring the British Lion." About 1845 we have the first of that long series of half-page and quarter-page pictures of life and manners, executed with a hand as gentle as it was skilful, containing, as Ruskin has said, "admittedly the finest definition and natural history of the classes of our society, the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways," which has yet appeared. In addition to his work for the weekly issue of _Punch_, Leech contributed largely to the _Punch_ almanacks and pocket-books, to _Once a Week_ from 1859 till 1862, to the _Illustrated London News_, where some of his largest and best sporting scenes appeared, and to innumerable novels and miscellaneous volumes besides, of which it is only necessary to specify _A Little Tour in Ireland_ (1859), which is noticeable as showing the artist's treatment of pure landscape, though it also contains some of his daintiest figure-pieces, like that of the wind-blown girl, standing on the summit of a pedestal, with the swifts darting around her and the breadth of sea beyond.

In 1862 Leech appealed to the public with a very successful exhibition of some of the most remarkable of his _Punch_ drawings. These were enlarged by a mechanical process, and coloured in oils by the artist himself, with the assistance and under the direction of his friend J. E. Millais.

Leech was a singularly rapid and indefatigable worker. Dean Hole tells us, when he was his guest, "I have known him send off from my house three finished drawings on the wood, designed, traced, and rectified, without much effort as it seemed, between breakfast and dinner." The best technical qualities of Leech's art, his unerring precision, his unfailing vivacity in the use of the line, are seen most clearly in the first sketches for his woodcuts, and in the more finished drawings made on tracing-paper from these first outlines, before the chiaroscuro was added and the designs were transcribed by the engraver. Turning to the mental qualities of his art, it would be a mistaken criticism which ranked him as a comic draughtsman. Like Hogarth he was a true humorist, a student of human life, though he observed humanity mainly in its whimsical aspects,

"Hitting all he saw with shafts With gentle satire, kin to charity, That harmed not."

The earnestness and gravity of moral purpose which is so constant a note in the work of Hogarth is indeed far less characteristic of Leech, but there are touches of pathos and of tragedy in such of the _Punch_ designs as the "Poor Man's Friend" (1845), and "General Février turned Traitor" (1855), and in "The Queen of the Arena" in the first volume of _Once a Week_, which are sufficient to prove that more solemn powers, for which his daily work afforded no scope, lay dormant in their artist. The purity and manliness of Leech's own character are impressed on his art. We find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of Gillray are so full. Compared with that of his great contemporary George Cruikshank, his work is restricted both in compass of subject and in artistic dexterity.

Biographies of Leech have been written by John Brown (1882), and Frith (1891); see also "John Leech's Pictures of Life and Character," by Thackeray, _Quarterly Review_ (December 1854); letter by John Ruskin, _Arrows of the Chace_, vol. i. p. 161; "Un Humoriste Anglais," by Ernest Chesneau, _Gazette des Beaux Arts_ (1875). (J. M. G.)

LEECH, the common name of members of the Hirudinea, a division of Chaetopod worms. It is doubtful whether the medicinal leech, _Hirudo medicinalis_, which is rarer in England than on the continent of Europe, or the horse leech, _Aulastoma gulo_, often confused with it, has the best right to the original possession of this name. But at present the word "leech" is applied to every member of the group Hirudinea, for the general structure and classification of which see CHAETOPODA. There are many genera and species of leeches, the exact definitions of which are still in need of a more complete survey. They occur in all parts of the world and are mostly aquatic, though sometimes terrestrial, in habit. The aquatic forms frequent streams, ponds and marshes, and the sea. The members of this group are always carnivorous or parasitic, and prey upon both vertebrates and invertebrates. In relation to their parasitic habit one or two suckers are always developed, the one at the anterior and the other at the posterior end of the body. In one subdivision of the leeches, the _Gnathobdellidae_, the mouth has three chitinous jaws which produce a triangular bite, though the action has been described as like that of a circular saw. Leeches without biting jaws possess a protrusible proboscis, and generally engulf their prey, as does the horse leech when it attacks earthworms. But some of them are also ectoparasites. The leech has been used in medicine from remote antiquity as a moderate blood-letter; and it is still so used, though more rarely than formerly. As unlicensed blood-letters, certain land-leeches are among the most unpleasant of parasites that can be encountered in a tropical jungle. A species of _Haemadipsa_ of Ceylon attaches itself to the passer-by and draws blood with so little irritation that the sufferer is said to be aware of its presence only by the trickling from the wounds produced. Small leeches taken into the mouth with drinking-water may give rise to serious symptoms by attaching themselves to the fauces and neighbouring parts and thence sucking blood. The effects of these parasites have been mistaken for those of disease. All leeches are very extensile and can contract the body to a plump, pear-shaped form, or extend it to a long and worm-like shape. They frequently progress after the fashion of a "looper" caterpillar, attaching themselves alternately by the anterior and the posterior sucker. Others swim with eel-like curves through the water, while one land-leech, at any rate, moves in a gliding way like a land Planarian, and leaves, also like the Planarian, a slimy trail behind it. Leeches are usually olive green to brown in colour, darker patches and spots being scattered over a paler ground. The marine parasitic leech _Pontobdella_ is of a bright green, as is also the land-leech _Trocheta_.