a colleague, until Dyce left in 1848. The Isle of Wight paintings from 1855 suggest the two remained friends. After the internal disputes of the 1840s, the school acquired a firm sense of control and direction when in 1853 the Government placed it under the control of Henry Cole, for whom the Science and Art Department was set up, with a large tract of land, and much of the large profit from the 1852 Great Exhibition to spend. Cole was an extremely dynamic figure, with some training as a painter, and experience as an entrepreneurial designer of china. He made the young painter Richard Redgrave, master of botany at the school since 1847, responsible for the superintendence of the national system, and appointed Burchett as Headmaster of the London School. Redgrave, drawing on Dyce's ideas, and propelled by Cole, set out the "South Kensington system", a highly specific syllabus for the teaching of art, which was to be dominant in the UK, and other English-speaking countries, at least until the end of the century, and not to entirely vanish until the 1930s. Burchett was the first to implement the course in London, and worked with Redgrave in drawing it up - Redgrave had much less teaching experience. Burchett's published lectures reflected the system, and were widely used as text-books for it; how far he was involved in devising it cannot be said. The full course was divided into twenty-three stages, most with several sections. Different types of students were to take different combinations of stages: "machinists, engineers and foremen of works" should take stages 1–5, and then skip to the final 23rd stage, "Technical Studies", while designers and "ornamentalists" took most stages. There were several types of students, pursuing different courses: the "general students", who paid no fees and were given a small living allowance, training to be teachers of art (though many ended up elsewhere), the "National Scholars" intended for industrial designers, and fee-paying students, pursuing a course more oriented to the fine arts. Latterly these were in fact the majority. Women pupils were taught at least partly separately, and their life classes consisted of drawing a man wearing a suit of armour. The Royal Academy Schools did not accept women students until 1861, although there were other alternatives for women. The female school, under Royal patronage, became a rather fashionable place for young ladies, able to support its