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 painted a ‘Madonna and Child.’ Mr. Severn brought the German painter Overbeck to see it, who was followed by numbers of the German artist-colony then working in Rome. They were astonished to find that so young a painter had unaided produced so excellent a work, painted on the principles which they had for years been striving to establish; their admiration went so far, that, hearing of Dyce's approaching departure from Rome, and ascribing it to pecuniary reasons, they subscribed among themselves a considerable sum of money to purchase the picture and enable him to prosecute his studies longer in Rome. Their kind assistance was not needed, and Dyce carried out his intention of returning, reaching Aberdeen late in 1828, and set to work painting Madonnas and other similar subjects. Finding that they did not meet with appreciation, he laid aside his brush and devoted himself to scientific pursuits; not long afterwards he gained the Blackwell prize at Marischal College for an essay on ‘Electro-magnetism.’ Shortly after this he accepted an offer from the Hon. Mrs. Mackenzie to make a copy of a portrait of her father, Lord Seaforth, by Sir Thomas Lawrence. This was so successful that he was induced to turn his thoughts to portraiture. In 1830 he settled in Edinburgh, where he remained for about seven years, during which time he painted over one hundred portraits; these were executed in a simple and vigorous style that brought out some of the finest qualities of his work, which remain hitherto almost unknown to the world in general. His portraits of ladies and children were much admired. In 1832 he was elected a fellow of the Royal Society at Edinburgh, and in 1835 an associate of the Royal Scottish Academy; this latter distinction he resigned on settling in London, when the honorary rank was conferred on him. He exhibited during these years in Edinburgh the ‘Golden Age,’ the ‘Infant Hercules,’ ‘Christ crowned with Thorns,’ the ‘Dead Christ’ (an altarpiece), &c., besides portraits; and also in London at the Royal Academy numerous portraits and a ‘Descent of Venus’ (from Ben Jonson's ‘Triumph of Love’), which attracted some attention. During his residence in Edinburgh Dyce became intimately acquainted with several members of the board of trustees for manufactures; he was frequently consulted by them as to the best means of applying design to manufactures, and at last he matured and proposed a scheme for the improvement of their schools, which he published in the form of a letter to Mr. Maconochie Wellwood (Lord Meadowbank). This pamphlet came into the hands of the newly formed council of the school of design at Somerset House. Dyce was sent for, and eventually was requested by the president of the board of trade, Mr. Poulett Thomson, to proceed to the continent on a mission of inquiry into the working of schools established with a similar object in France, Germany, and elsewhere. Dyce returned in 1840 and presented a report, which was printed by order of the House of Commons and led to the remodelling of the school of design, of which Dyce became director and secretary to the council. These posts he held till 1843, when he was appointed inspector of the provincial schools, which had been established on his proposal, retaining a seat on the council. These posts he resigned after about a year and a half. In 1844 he was appointed professor of the fine arts in King's College, London, where he delivered a lecture on ‘The Theory of the Fine Arts,’ which attracted some notice, and which he published. In the same year he was elected an associate of the Royal Academy, of which he became a full member in 1848. In the latter year it was found that by mismanagement the affairs of the school of design had been brought to a deadlock. Dyce's services were again called into requisition, and he was appointed master of the ornamental class, and master of the class of design. Being, however, thoroughly dissatisfied with the scheme of management, and finding his views not accepted, he resigned these posts, and severed his connection with an enterprise which owed much of its success to his profound knowledge of principles and his administrative ability. During his connection with the school of design Dyce had but little time for painting; he painted a ‘Madonna and Child’ (Royal Academy, 1846, purchased by the prince consort, and engraved by T. Vernon in the ‘Art Journal,’ 1855), ‘St. Dunstan separating Edwy and Elgiva’ (Royal Academy, 1839), ‘Titian teaching Irene da Spilemburgo’ (Royal Academy, 1840), and ‘Jessica’ (Royal Academy, 1843). At this point Dyce, feeling that his powers of painting had grown rusty, and never having studied seriously from the life, went through a course of study in Mr. Taylor's life school in St. Martin's Lane. This laudable action was shared by his friend W. Etty, R.A. [q. v.] The result was the production of one of his most successful works, ‘King Joash shooting the arrow of deliverance,’ and of his cartoon for the competition in Westminster Hall. The destruction of the Houses of Parliament by fire in 1831, and the consequent erection of the present buildings, offered an opportunity for the long-cherished idea of the encouragement of national art at the national