the Catch Club, and the following part-songs by him gained prizes: ‘How sweet, how fresh this vernal day,’ 1779; ‘Round the hapless André's urn,’ 1781; ‘Ye Muses, inspire me,’ a catch, 1783; ‘Blest Power,’ 1784; ‘Come, oh come,’ 1785. He wrote masses in D and in G, and motets for the Roman catholic church, to which he belonged; and composed also pieces for his instrument, and sold his music at 29 Titchfield Street, London. Paxton died at Brompton Row on 18 Aug. 1787, aged 52, leaving a widow, whom, in his will, he recommended to practise works of charity. Paxton himself was respected for ‘his exemplary virtues and universal charity’ (Gent. Mag. 1787, ii. 837). He was buried in Old St. Pancras churchyard.
Paxton published: 1. ‘Six Solos for the Violoncello,’ 1780. 2. ‘Eight Duets for Violin and Violoncello.’ 3. ‘Six easy Solos for Violoncello or Bassoon.’ 4. ‘Four Duets for Violin and Violoncello, with two Solos.’ 5. ‘A Collection of Glees’ (his own, nineteen altogether). 6. ‘Twelve easy Lessons for a Violoncello and Bass.’ Many of Paxton's glees are included in ‘Ladies' Amusement,’ 1791, vols. i. and ii.; and in Warren's ‘Collection of Catches;’ and the two masses were printed in Webbe's volume of ‘Masses,’ 1792; other sacred music of Paxton's has been arranged by Butler and Robinson.
To Paxton's brother, William Paxton (fl. 1780), another violoncello-player and composer of glees, has been ascribed the glee, ‘Breathe soft, ye winds,’ which appears in Stephen Paxton's collection. William Paxton gained prizes at the Catch Club for two canons, ‘O Lord, in Thee,’ 1779; and ‘O Israel, trust in the Lord,’ 1780.
[Grove's Dict. ii. 677, &c.; Burney's Hist. iv. 677; Roffe's Tomb-seeker, p. 35.]
PAYE, HENRY (fl. 1405–1415), sea captain, appears to have belonged to Poole. In 1403 he was sent to Calais to aid in settling some Flemish claims, and in August 1404 he was directed to prepare to meet a threatened French invasion. In 1405 he was associated with Lord Berkeley in command of a fleet levied for the defence of the Channel, with the special object of preventing the French from sending assistance to Owen Glendower. They succeeded in landing a strong body of men in Milford Haven, but there their fleet was attacked by the English under Berkeley and Paye, and fifteen of their ships burnt. A strong reinforcement which was being sent to the French in Wales was met at sea, and fourteen ships laden with military stores were captured. Paye afterwards ravaged the coast of France, and is said to have brought home 120 vessels laden with iron, salt, oil, and wine. The French soon obtained assistance from Spain, and a combined squadron of French and Spanish galleys came into the Channel. So far as can be made out from the confused geography, they sacked Looe, judged Falmouth too strong, were beaten off from Plymouth, and again from Portland. They then came to Poole, which the Spanish chronicler describes as belonging to a knight called Arripay—Harry Paye—who scours the seas as a corsair with many ships. This ‘Arripay came often upon the coast of Castile, and carried away many ships; he scoured the channel of Flanders, so that no vessel could pass that way without being taken; he burnt Gijon and Finisterre, and carried off the famous and most holy crucifix from Santa Maria de Finisterre, and much more damage he did in Castile, taking many prisoners, and exacting ransoms; and though other armed ships came there from England, he it was who came oftenest.’ In revenge for Paye's ravages in Castile, the Spaniards now resolved to land and burn Poole; but after a sharp fight, in which a brother of Paye was slain, they were driven back to their ships. They afterwards went to the Isle of Wight, and, meeting no good success there, returned to France. Paye's knighthood seems to have been conferred on him by the Spanish chronicler. On 19 July 1414 he was paid eight marks for going to Calais to report on the state of the garrison.
[Southey's Naval Hist. ii. 15, 16, 27 (quoting Crónica del Conde D. Nero Niño); Nicolas's Royal Navy, ii. 374–81, 463; Annales Henrici IV, pp. 386–8, 415; Walsingham's Hist. ii. 272–5, and his Ypodigma, pp. 416, 421; Capgrave's Chron. p. 292; Rymer's Fœdera, viii. 304; Nicolas's Privy Council, i. 234; Wylie's Henry IV passim.]
PAYE, RICHARD MORTON (d. 1821), painter, is stated to have been born at Botley (?) in Kent. His name first appears in 1773, when he was living in London, and sent two portraits in oil and two models in wax to the Royal Academy. He continued to exhibit there not infrequently during the following years up to 1798, sending portraits, miniatures, and small figure subjects. He also exhibited at the Society of Artists in 1783. He had some skill as a modeller and chaser, which accounts for a certain sculpturesque feeling in his pictures. Paye especially excelled in painting children, both as single portraits and in groups. A number of these were engraved by John Young [q. v.], who did much to assist the painter,
