The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin. His "The Man of Sorrows" and "David in the Wilderness" (both 1860), contain a Pre-Raphaelite attention to detail, but puts the biblical subjects in a distinctly Scottish landscape, against the Pre-Raphaelite precept of truth in all things. His "Pegwell Bay: a Recollection of 5 October 1858" has been described as "the archetypal pre-Raphaelite landscape". Dyce became head of the School of Design in Edinburgh, and was then invited to London, to head the newly established Government School of Design, later to become the Royal College of Art, where his ideas formed the basis of the system of training and he was highly involved in the national organisation of art. Joseph Noel Paton (1821–1901) studied at the Royal Academy schools in London, where he became a friend of John Everett Millais and he subsequently followed him into Pre-Raphaelitism, producing pictures that stressed detail and melodrama such as "The Bludie Tryst" (1855). Also influenced by Millias was James Archer (1823–1904) and whose work included "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".