PAY
PEA
Borne to their exhibition in that year, 1 Samson in Distress,' and in London, in
1772 and 1773, was also a contributor. To the first exhibition of the Royal Academy, 1769, he sent a small whole-length por- trait, a boy in the character of Cupid, and a girl playing on a musical instrument. His portraits were well painted and fin- ished, and gained him a reputation. He afterwards went to the East Indies, and died in Bombay, in 1780.
•PAYE. Richard Morton, subject painter. Was born at Botley, in Kent, and first employed in London as a chaser. He was soon distinguished by the fine sculpturesque manner of his classic and allegorical groups. He also occasionally practised painting. His easel pictures were carefully finished, his light and shade excellent, but his painting woolly. His subjects were chiefly domestic and familiar, for his feelings were now roused by family cares, and he for a time enjoyed some popularity. But few of his works are Known. His ' Miraculous Increase of the Widow's Oil/ in which he introduced his wife and some of his children, is said to have been sold as a Velasquez, and another picture by him as a Wright of Derby. In
1773 he exhibited at the Royal Academy both portraits in oil and wax models, and the same in the following year. He was a contributor in 1783 to the exhibition of the Incorporated Society and of the Free So- ciety. In 1787 seme emblematical designs by him were published in the * Artists' Repository.'
When Dr. Wolcott quarrelled with Opie he took up Paye, lodged him in Ins house, and praised and nattered him, but the con- nexion was soon dissolved. He painted a loutish stupid lad. said to be a natural son of the doctor, which he exhibited at the Academy in 1785, as ' Portrait of a Sulky Boy.' This was supposed one cause of quarrel; and he satirised the doctor in a sketch as a bear seated at an easel. His employment was precarious. He tried modelling, oil painting, miniature painting, and engraving to procure a subsistence. Shy and diffident in his habits, he did not mix with his brother artists, or in any other society. He was soon known to be in difficulties. His powers began to fail. He suffered from rheumatic fever, followed by an attack which paralysed nis right hand, and, stimulated by necessity, he learned to work with his left; but em- barrassed by poverty and neglect, he fell into obscurity. He did not exhibit after 1802, and was lost sight of by his friends. The date of his death even is unknown, but it has been traced with tolerable ac- curacy to have happened in December 1821. Many of his pictures were engraved by J. Young, who befriended him. Val. 324
Green engraved, in 1783, his, 'Child of Sorrow,' and two or three others; and he himself engraved, after his own pictures, 'Puss in Durance/ and 'No Dance, no Supper.'
rAYE, Miss, miniature painter. Lived for several years with the above, and was
Erobably his daughter. She was an ex- ibitor at the Royal Academy, commenc- ing in 1798, and among her works were the portraits of many persons of rank. She exhibited in 1800, 'l/Allegro*' 1801,
- Cupid; ' 1803, < Sylvia; ' 1805, * Mrs. Sid-
dons,' with many others, but ceased to exhibit in 1807.
PAYNE, John, engraver. Was a pupil of Simon de Passe. His chief works are frontispieces, book-plates, and portraits; but he also engraved landscapes, animals, birds, fruit, and flowers. He is reputed to have been the first English artist who practised line engraving. Evelyn com- mends his portraits, and also a very large Elate by him of Phineas Pett's 'Royal iovereign.' Walpole says he was an idle genius, who neglected the fame and for- tune which his talent would have secured him, and died in indigence, before the age of 40, shortly before 1648. A plate by him is dated ' London, 1620.' His works are prized by collectors.
PAYNE, William, water-colour paint-* er. He originally held a civil appointment in the engineers' department at rlymouth, and, having a love of art, pursued it him- self, and, self-taught, struck out a new style. He resided at Plymouth in 1786, and in that year sent to the Academy exhibition some views of the neighbouring scenery. He had great dexterity of hand, working with the brush, almost excluding outline. His colour was brilliant, his style marked by vivid effects of sunshine and light and shade produced by the opposition of warm colours and grey aerial tints. He exhibited at the Spring Gardens' Rooms in 1776 and in 1790, when he came to reside in London, and was soon the fashionable teacher of the day. But he was seduced further and furtner from nature by his great facility, and fell into a mere man- nerist. He was. in 1809, elected an asso- ciate exhibitor of the Water-Colour Society, but appears to have withdrawn in 1813, with other seceders, when a change was made in the constitution of the society. Sir Joshua Reynolds spoke in high terms of some small drawings made by him of the slate quarries at Plympton.
PEACH AM, Henry, amateur. Born at South Mimms, near St. Albans. Studied at Trinity College, Cambridge, and took the degree of M. A. He was for a time a teacher at the Free School at Wymondham, Norfolk, and then became tutor to the children of Lord Arundel, and accompanied
