Leyland had visited London in the December of 1833, when he obtained from Stothard a letter of introduction to Ottley, the curator of the Elgin Marbles, to allow him to study the marbles in the British Museum. Permission was readily granted, and the sculptor availed himself of it. A year later Leyland took up his residence in the metropolis. He was received in a friendly manner by Chantrey and Westmacott, the latter inviting him to dinner, and afterwards showing him his foundry at Pimlico, and his works in progress, among which was the statue of the Duke of York. He was also introduced to, and enjoyed the friendship of Nasmyth--the father of the eminent engineer whose story has recently been given to the world--and of Warley: one a landscape-painter of celebrity, and the other famed as an artist in water-colour. The latter, who had considerable faith in astrology, persisted in drawing the younger sculptor's horoscope. Among others, he became known to Haydon, under whom he subsequently studied anatomy. This lamented artist was a genuine friend, and it was under his instructions that Leyland perfected his natural perception of the grand and beautiful in art. While here he modelled, in life-size, a figure of 'Kilmeny,' in illustration of the passage in Hogg's 'Queen's Wake,' where the sinless maiden is awakened by Elfin music in fairy-land. It was a successful work, and was favourably noticed by the critics. It was subsequently purchased for the Literary and Philosophical Society of his native town. It was while Leyland was in the metropolis that Charlotte wrote, on the 6th July, 1835: 'We are all about to divide, break up, separate. Emily is going to school, Branwell is going to London, and I am going to be a governess. This last determination I formed myself, knowing that I should have to take the step sometime, "and better sune as syne," to use the Scotch proverb; and knowing well that papa would have enough to do with his limited income, should Branwell be placed at the Royal Academy, and Emily at Roe Head.' While this project was warmly engaging the attention of the Brontë family, Leyland was living in London, at the house of Mr. Geller, a mezzotinto-engraver, who was a native of Bradford; and, at the time, the sculptor modelled a group of three figures illustrative of a passage in Maturin's tragedy of 'Bertram,' which represented the warrior listening to the prior reading. The work was engraved by Geller. This group was said to be conceived in the 'true spirit of Maturin,' and met with the favourable notice of the London periodicals of the year 1835, the year of Branwell's visit to the metropolis. The reviews were also reproduced in most of the Yorkshire papers.