1763); Cowick Hall, Yorkshire, for Viscount Downe; Gosforth, Northumberland, for Ch. Brandling, esq.; Melbourne (now known as Dover) House, Whitehall, for Sir M. Featherstonhaugh, bart.; Belford, Northumberland, for Abraham Dixon, esq.; Serlby, Nottinghamshire, for Viscount Galway; Stockeld Park, Yorkshire, for William Middleton, esq.; Lumley Castle at Sandbeck, Yorkshire, for the Earl of Scarborough (Watts, Seats of the Nobility, &c., 1779–90, pl. x.); Bywell, Northumberland, for William Fenwick, esq.; Axwell Park, Durham, for Sir Thomas Clavering, bart.; Heath, Yorkshire, for Mrs. Hopkinson; St. Ives, Yorkshire, for Benjamin Ferrand, esq.; Thorndon Hall, Essex, for Lord Petre (Neale, 2nd ser. vol. ii.; Wright, Essex, vol. ii.; Watts, pl. 17); Wardour Castle, Wiltshire, for Henry, eighth lord Arundel (Neale, vol. iii.; Builder for 1858, xvi. 548); Stapleton Park, Yorkshire, for Edward Lascelles, esq., afterwards Earl of Harewood (Neale, vol. iv.); Brocket Hall, Hertfordshire, for Sir Matthew Lamb, afterwards Lord Melbourne (ib. 2nd ser. vol. v.); Hare Hall, near Romford, Essex, for J. A. Wallenger, esq. ({sc|Wright}}, Essex, vol. ii.; Neale, vol. i.); Shrubland Hall, Suffolk; and other smaller works. In London he designed Lord Petre's house in Park Lane; Dr. Heberden's house, and another for the Hon. Thomas Fitzmaurice, both in Pall Mall. His work also included bridges at Richmond and at Chillington, Staffordshire, besides several ceilings and ‘chimneypieces,’ one being for Sir Joshua Reynolds, P.R.A., in Leicester Square, two at Melbourne House, and another in Park Lane. These were of his own peculiar design and execution (‘Letters of Sir W. Chambers, 1769,’ in Journal of Royal Institute of British Architects, 1892, p. 4). The bridges of Chertsey (Brayley, Surrey, ii. 231), Walton, and Kew (Faulkner, Brentford, p. 168) were built in 1783 from his designs, and at the same time Salisbury Street in the Strand was laid out by him.
His plans are well arranged and commodious, and the buildings soundly constructed; but some of the designs are meagre imitations of the Italian school. Gwilt, in his memoir of Sir William Chambers (Civil Architecture, 1825, p. xlix), remarks that ‘Paine and Sir Robert Taylor divided the practice of the profession between them until Robert Adam entered the list, and distinguished himself by the superiority of his taste in the nicer and more delicate parts of decoration.’
Paine held the appointment under the king's board of works of clerk of the works (or resident architect) at Greenwich Hospital, and held a like post afterwards at Richmond New Park and Newmarket. Finally he was attached to the board of works as ‘architect to the king,’ but was displaced in 1782, very soon after his appointment, by Burke's Reform Bill, without gratuity or pension. In 1771 Paine was elected president of the Society of Artists of Great Britain. ‘Chambers and Paine, who were leading members in the society, being both architects, were equally desirous that the funds should be laid out in the decoration of some edifice adapted to the objects of the institution. This occasioned much debate, acrimony, and rivalry among their respective partisans’ (Galt, Life of West, ii. 35). At length Paine designed for the society the academy or exhibition rooms, near Exeter Change, Strand, and on 23 July 1771 laid the first stone (Annual Register). The exhibition in the new buildings was opened on 11 May 1772, when an ‘ode,’ written by E. Lloyd, with music by W. Hook, was recited (given in ib. p. 206). The building was soon afterwards sold, and in 1790 was converted into the Lyceum Theatre. In 1764 Paine was living in a spacious house in St. Martin's Lane, which he had built for himself; he removed in 1766 to Salisbury Street, and about 1785 to Addlestone or Sayes Court, near Chertsey, to which he is said to have made additions in the Elizabethan style; there he is stated to have formed a fine collection of drawings. In 1783 he was high sheriff for Surrey, and in the commission of the peace for Essex, Middlesex, and Surrey. Some months preceding his death he retired to France, and died there about November 1789, in the seventy-third year of his age (ib. 1789, p. 232). A son James is separately noticed. Of his two daughters, the younger was married after 1777 to Tilly Kettle [q. v.] the painter.
At the South Kensington Museum there are two volumes of drawings, one having twenty-three examples of rosettes, &c., and the other having forty-four examples of ornaments, vases, mirror-frames, &c., both of which may be attributed to Paine.
There is a stippled portrait of Paine dated 1798; a similar plate by P. Falconet, engraved in 1769 by D. P. Pariset; a small one by F. Hayman, engraved by C. Grignion, prefixed to his publication of 1751. There is also the brilliant picture of Paine and his son James by Sir Joshua Reynolds, painted in June 1764. This is now in the University gallery at Oxford, the son having bequeathed, it to the Bodleian Library. It was engraved in 1764 by J. Watson, and shows a scroll inscribed ‘Charter of the Society of Artists;’
