Reading of the Scriptures.' 1842. 9. 'Christian Union, or Suggestions for Promoting Brotherly Love among the various Denominations of Evangelical Protestants.' 1844. 10. 'The Sabbath-day Book, or Scriptural Meditations for every Lord's Day in the Year.' 1846. 11. 'Hymns appropriated to Christian Union, selected and original.' 1846. 12. 'The Christian Emigrant, containing Observations on different Countries, with Essays, Discourses, Meditations, and Prayers.' 1849. 13. 'Christian Experience, in its several Parts and Stages.' 1852. 14. 'Remarkable Facts, illustrative and confirmatory of different portions of Scripture.' 1867. The sixth edition was entitled 'Brief Expositions of Scripture illustrated by Remarkable Facts.' 1879. Leifchild also printed many addresses, lectures, and single sermons, and with the Rev. Dr. Redford edited 'The Evangelist.' a monthly magazine, from May 1887 to June 1839.
[J. R. Leifchild's John Leifchild, D.D., 1863, with portrait; Graham's Thoughts on Life of the Rev. J. Leifchild, 1862; Congregational Year-Book, 1863, pp. 235-9; James B. Brown's John Leifchild, 1862.]
LEIGH. [See also Lee, Legh, and Ley.]
LEIGH, ANTHONY (d. 1692), comedian, described by Downes (Roscius Anglicanus) as 'the famous Mr. Antony Leigh.' was born of a good family in Northamptonshire. He joined the Duke of York's company about 1672, and appeared in that year at the recently opened theatre in Dorset Garden as the original Pacheco in the 'Reformation.' 4to, 1673, a comedy ascribed by Langbaine to Mr. Arrowsmith, a master of arts of Cambridge. Mrs. Leigh, apparently Leigh's wife, is said by Downes to have joined the duke's company two years earlier. At Dorset Garden Leigh played very many original parts of importance. He was in 1674 Polites in 'Herod and Mariamne;' in 1676 Sir Formal in Shadwell's 'Virtuoso,' Old Bellair in Etherege's 'Man of the World,' Fumble in D'Urfey's 'Fond Husband,' Count de Benevent in Ravenscroft's 'Wrangling Lovers,' Tom Essence in Rawlins's 'Tom Essence, or the Modish Wife,' and Zechiel in D'Urfey's 'Madam Fickle;' in 1677 Scapin in Ravenscroft's 'Cheats of Scapin,' Monsieur in the 'French Conjurer,' and Sir Oliver Santlow in the 'Counterfeit Bridegroom,' an alteration of Middleton's 'No Wit, no Help like a Woman's,' ascribed to Mrs. Behn; in 1678 Sir Patient Fancy in Mrs. Behn's play of that name, Malagene in Otway's 'Friendship in Fashion,' Sir Frederick Banter in D'Urfey's 'Squire Oldsapp,' Don Gomez in Leanard's 'Counterfeits,' Ælius in Shadwell's 'Timon of Athens;' in 1679 Pandarus in Dryden's 'Troilus and Cressida,' and Petro in Mrs. Behn's 'Feigned Courtezans;' in 1680 Gripe in Shadwell's 'Woman Captain,' Ascanio Sforza, 'a buffoon cardinal,' in Nat Lee's 'Caesar Borgia,' Dashit in the 'Revenge,' otherwise Marston's 'Dutch Courtezan,' and Paulo in Maidwell's 'Loving Enemies;' in 1681 Sir Jolly Jumble in Otway's 'Soldier's Fortune,' Dominic in Dryden's 'Spanish Fryar,' Teague O'Donelly in Shadwell's 'Lancashire witches,' Sir Anthony Merriwill in Mrs. Behn's 'City Heiress.' and St. Andre [é] in Lee's 'Princess of Cleve;' and in 1682 Antonio in Otway's 'Venice Preserved,' Sir Oliver Oldcut in D'Urfey's 'Royalist,' Guiliom, a chimney-sweeper, in Mrs. Behn's 'False Count,' Dashwell in Ravenscroft's 'London Cuckolds,' and Ballio in Randolph's 'Jealous Lovers.' All these parts were original, though Ballio had been presented before Charles I in Cambridge by the students of Trinity College. The dates given are approximate. Upon the union of the duke's company with the king's in 1682 Leigh did not immediately go to the Theatre Royal. He was in 1683, however, at that theatre the original Bartoline in Crowne's 'City Politics,' and played Bessus in a revival of 'A King and No King.' Here he remained until his death in 1692, creating many characters, of which the most important are: Beaugard's Father in Otway's 'Atheist,' Rogero in Southerne's 'Disappointment,' Sir Paul Squelch in Brome's 'Northern Lass,' Crack in Crowne's 'Sir Courtly Nice,' Trappolin in Tate's 'Duke and No Duke,' Security in Tate's 'Cuckold's Haven,' an alteration of 'Eastward Hoe,' Scaramouch in Mountfort's 'Dr. Faustus,' Sir Feeble Fainwou'd in Mrs. Behn's 'Lucky Chance,' Scaramouch in the same writer's 'Emperor of the Moon,' Sir William Belfond in Shadwell's 'Squire of Alsatia,' Justice Grub in 'Fool's Preferment,' altered by D'Urfey from Fletcher's 'Noble Gentleman,' Lord Stately in Crowne's 'English Friar,' Mustapha in Dryden's 'Don Sebastian,' Mercury in Dryden's 'Amphitryon,' Abbé in Mountfort's 'Sir Anthony Love,' Tope in Shadwell's 'Scowrers,' Sir Thomas Reveller in Mountfort's 'Greenwich Park,' Lady Addleplot in D'Urfey's 'Love for Money,' Van Grin in D'Urfey's 'Marriage-Hater Match'd,' and Major-general Blunt in Shadwell's 'Volunteers.' Genest supposes Leigh to have been the original Aldo in Dryden's 'Limberham.' Leigh died of fever in December 1692, in the same season as Noke or Nokes, and these deaths, combined with
