Pre-Raphaelitism had a significant impact in Scotland and on Scottish artists. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–1864). Dyce befriended the young Pre-Raphaelites in London and introduced their work to Ruskin. His later work was Pre-Raphaelite in its spirituality, as can be seen in his "The Man of Sorrows" and "David in the Wilderness" (both 1860), which contain a Pre-Raphaelite attention to detail. Joseph Noel Paton (1821–1901) studied at the Royal Academy schools in London, where he became a friend of Millais and he subsequently followed him into Pre-Raphaelitism, producing pictures that stressed detail and melodrama such as "The Bludie Tryst" (1855). His later paintings, like those of Millais, have been criticised for descending into popular sentimentality. Also influenced by Millais was James Archer (1823–1904), whose work includes "Summertime, Gloucestershire" (1860) and who from 1861 began a series of Arthurian-based paintings including "La Morte d'Arthur" and "Sir Lancelot and Queen Guinevere".