James Collinson (Mother and Child, Mellon Centre, Yale), both Burchett's colleagues at the school, are taken by Geoffrey Grigson to mean that the three artists were on a visit, or holiday, together. Dyce, like Burchett, was an artist who saw himself as a history painter but is now most often remembered for a single Pre-Raphaelitish landscape, his Pegwell Bay, Kent – a Recollection of October 5th 1858. There are a number of public paintings by Burchett, with help of his students, commissioned through the school. He and his students painted, from Renaissance portraits, a number of full-length portraits of the House of Tudor for the royal antechamber to the House of Lords in the Palace of Westminster (1855-9). He painted other works for the new Palace, including a large Spanish Armada scene The English Fleet Pursuing the Spanish Fleet Against Fowey, copying from an 18th-century print a one of a set of tapestries made for Lord Howard of Effingham, the victorious admiral. The death of Prince Albert brought the project to reproduce the full set to an end, but it was revived in the 21st century, and finally completed in 2010. Like the works in the Palace by better-known painters like Dyce, these have been generally disliked by critics from their first unveiling; the overall painting of the Palace after its rebuilding was probably the largest public painting commission in England during the 19th century, and, unlike the architecture of the Palace, has been regarded as very disappointing by most critics from the start. From a number of designs for mosaics for the exteriors to the south court of the Victoria and Albert Museum he produced William Torrell (two versions in fact) and William of Wykeham. The mosaics remain in place, and two of the cartoons are now themselves on display in the staircase on the Exhibition Road side of the building. He and his students decorated large medallions in the dome of the now-vanished Great Exhibition building of 1862 at South Kensington, and he painted a window in the Greenwich Hospital. The South Kensington system The controversy at the school in 1845 was about the Headmaster and his teaching methods, but reflected wider issues about the aims of the school in terms of the balance between fine art and applied and commercial art and design; these questions were to remain a perennial bone of contention for at least another