Scottish Academy, an honour he relinquished upon settling in London, and he was then made an honorary member. In 1844 he became an associate, and in 1848 a full member, of the London Royal Academy of Arts; he also was elected a member of the Pennsylvania Academy of the Fine Arts in Philadelphia. Around this time, Dyce moved to Cheyne Walk in the artistic quarter of Chelsea, London. In 1849 when the new 'godless' florin coins were introduced by the Royal Mint, Dyce was responsible for the reverse design showing crowned cruciform shields bisected with emblems of the rose, thistle and shamrock in the angles. He also took on the similar design used on the reverse of the later Queen Victoria 'gothic head' florins which were issued from 1851 to 1887. Dyce is less known for, but nevertheless important as, the founder of the Motett Society (1840–1852), which sought to advance the restoration and liturgical use of long-neglected works of the English church. He was noted as an able organist, and is also reputed to have composed some musical works (unverified). Dyce died in Streatham in Surrey on 14 February 1864. He is buried in the churchyard of St Leonards Church in Streatham. He is also memorialised on his parents' grave in St Nicholas Churchyard on Union Street in Aberdeen, and there is a street in Streatham named for him – William Dyce Mews. A stained glass window in St Machar's Cathedral is jointly dedicated to Dyce. Collections Dyce's most highly thought of painting today is his exceptionally detailed seaside landscape of Pegwell Bay in Kent, now in the Tate Gallery. A rather atypical work, it is fully titled Pegwell Bay, Kent – a Recollection of October 5th 1858, and was exhibited at the Royal Academy summer exhibition in 1860. The largest collection of Dyce's work is held at Aberdeen Art Gallery, Scotland. A lengthy assessment of his art and influence was written by William Michael Rossetti in the Encyclopædia Britannica Eleventh Edition. Pre-Raphaelites Dyce is the figure in Scottish art most associated with the Pre-Raphaelites. He befriended the young Pre-Raphaelites in London and introduced their work to the influential art critic John 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. Westminster frescoes Later in