Among his Bradford acquaintances, Branwell numbered, in addition to Geller, the mezzotinto-engraver, previously mentioned, Wilson Anderson, an admirable landscape-painter, whose productions are valued as truthful pictures of the places they represent, and on account of the skilfulness of their manipulation and colouring; and also Richard Waller, a well-known and excellent portrait-painter. To these may be added Edward Collinson, a local poet; Robert Story; and John James, the future historian of Bradford. All these were personal acquaintances of Branwell, as well as of Leyland, and the intercourse between them was frequent. For more than twenty years a party of these friends was accustomed to meet, from time to time, at the 'George Hotel,' Bradford, under the auspices of Miss Rennie, who greatly prided herself on seeing at her house, in their hours of leisure, the artistic and literary celebrities of the neighbourhood. Leyland was at Halifax, being there to erect certain monuments, which he had executed in London for various patrons in his native town. While there, he modelled, in the upper room of an ancient house, his colossal group of 'African Bloodhounds,' his model being a living specimen of the breed; and the group, which was exhibited in London, was favourably noticed. Landseer regarded it as the 'noblest modern work of its kind.' It is now in the Salford Museum. The progress of this group intensely interested Branwell and his Bradford friends; and they frequently visited Leyland's temporary studio. It also formed the subject of a poem by Dearden.[27] Finding this studio of insufficient height for a great work he contemplated--a colossal group of 'Thracian Falconers'--Leyland afterwards took a suitable place in another part of the town, which, likewise, became a meeting-place of the local _literati_. The new work was to consist of three figures, the centre one being seated, and having upon his right fore-finger a hawk; while his left hand rested on the shoulder of a youth just roused, as if by some sudden sound; and, on his right, was a similar youth, half-recumbent, and also in a listening attitude. The centre figure was alone completed, and is now in the Salford Museum. [27] 'The Death of Leyland's African Bloodhound,' by William Dearden, author of 'The Star-Seer.' London, 1837. (Longmans.) Branwell, on his visits to the artist's studio, often lamented the dissipation of his high artistic hopes, and confessed that he saw with pain how misplaced his confidence in his own powers had been. But the sculptor was a poet also, and thus Branwell and he worked in the same field. Many of Leyland's poems were published in the Yorkshire papers, and also in the 'Morning Chronicle,' and were always considered to be of true poetic excellence. Branwell relied much on the artist's judgment in literary matters, and often submitted his productions to him.