Morse's father—a three-year stay for painting study in England. The two men set sail aboard the Libya on July 15, 1811. In England, Morse perfected his painting techniques under Allston's watchful eye; by the end of 1811, he gained admittance to the Royal Academy. At the academy, he was moved by the art of the Renaissance and paid close attention to the works of Michelangelo and Raphael. After observing and practicing life drawing and absorbing its anatomical demands, the young artist produced his masterpiece, the Dying Hercules. (He first made a sculpture as a study for the painting.) To some, the Dying Hercules seemed to represent a political statement against the British and also the American Federalists. The muscles symbolized the strength of the young and vibrant United States versus the British and British-American supporters. During Morse's time in Britain, the Americans and British were engaged in the War of 1812. Both societies were conflicted over loyalties. Anti-Federalist Americans aligned themselves with the French, abhorred the British, and believed a strong central government to be inherently dangerous to democracy. As the war raged on, Morse's letters to his parents became more anti-Federalist in tone. In one such letter, Morse wrote: I assert ... that the Federalists in the Northern States have done more injury to their country by their violent opposition measures than a French alliance could. Their proceedings are copied into the English papers, read before Parliament, and circulated through their country, and what do they say of them ... they call them [Federalists] cowards, a base set, say they are traitors to their country and ought to be hanged like traitors. Although Jedidiah Morse did not change Samuel's political views, he continued as an influence. Critics believe that the elder Morse's Calvinist ideas are integral to Morse's Judgment of Jupiter, another significant work completed in England. Jupiter is shown in a cloud, accompanied by his eagle, with his hand spread above the parties and he is pronouncing judgment. Marpessa, with an expression of compunction and shame, is throwing herself into the arms of her husband. Idas, who tenderly loved Marpessa, is eagerly rushing forward to receive her while Apollo stares with surprise. Critics have suggested that Jupiter represents God's omnipotence—watching every move that is made. Some call the portrait a moral teaching by Morse on infidelity. Although Marpessa fell victim, she realized that her eternal salvation was important