The son of an Aberdeen doctor and lecturer, William Dyce initially followed in his father's footsteps by studying medicine but soon turned his attention to theology and painting. This thorough academic grounding in both science and the humanities had a profound effect on Dyce's later career, distinguishing him as one of the most scholarly artists of his generation.

In 1825 Dyce enrolled at the Royal Academy Schools but did not stay long, preferring instead to study in Rome. After a period of travelling, he settled in Edinburgh where he became involved with the reform of art education. This led to his appointment as Superintendent of the Government School of Design in London where he promoted a traditional workshop system of teaching. The geometrical pattern, [2], possibly relates to Dyce's interest in the principles of design.

Dyce resigned as Superintendent in 1843 to devote more time to painting, though he remained involved with art policy and education. He was elected ARA the following year and a full Academician in 1848, presenting Omnia Vanitas (All is Vanity) [3], as his Diploma work. In this painting Dyce demonstrated his interests in historical and religious art while also alluding to a very Victorian pre-occupation, the 'fallen woman' - represented here in the guise of the repentant Magdalen. It is perhaps significant that Dyce was a friend of William Ewart Gladstone (later Prime Minister) who began his work attempting to 'redeem' prostitutes at around this time.

Another work Dyce carried out for the RA was this proposed design for the reverse of the Academy's medal for landscape painting in memory of J. M. W. Turner [4]. The subject is typically esoteric, depicting the Biblical figures Rachel and Leah in a scene taken from Dante's Divine Comedy (Purgatory xxvii). The inscription translates as 'Sight pleases her and active working me'. This may seem a curious choice for a medal celebrating the landscape genre as it is dominated by two figures, the nude Rachel and demurely draped Leah, but it has been convincingly suggested that Dyce based the image on a passage from John Ruskin's own memorial to Turner in Modern Painters.

Dyce's later career was dominated by his work on the decoration of the new Houses of Parliament. He became engrossed in the study of fresco techniques and spent nearly fifteen years working on the cycle of Arthurian frescoes in the Queen's Robing Room. In 1863 Dyce collapsed while working at Westminster. He died at his home in Streatham the following year and was buried at St. Leonard's church.