Paley played little part in the political life of Lancaster, but he was involved with cultural events and sports in the town.

His work tended to be eclipsed in the later part of his career by Austin, and Paley is regarded as having been a competent architect, rather than a great one.

He developed working relationships with the major entrepreneurs, James Ramsden, and Henry Schneider, for whom he designed both domestic and industrial buildings.

New features appeared, including what Brandwood et al. describe as "a new-found muscularity which tended to be uncharacteristic of Paley's work".

[13] It is not known what part Edward Paley played in these developments, but Brandwood et al. argue that they are "undoubtedly attributable to the influence of Austin".

Brandwood et al. point out that of the two, Paley had the more outgoing personality, and because of this, and because of his senior position, the writers suggest that he, rather than Austin, would "tend to 'front' many of the dealings of the firm".

[16] They also suggest that Paley would be more at ease in dealing with patrons, such as the Duke of Devonshire, in discussing the rebuilding of Holker Hall after the fire of 1871,[17] and that he would have played a greater part in training the pupils in the practice.

He took over from Sharpe as Bridgemaster of the South Lonsdale Hundred in 1860, and in 1868 he was appointed as inspector of Lancaster Gaol and the Judge's Lodgings.

[21] Paley became a fellow of the Royal Institute of British Architects in 1871, served on its council for two periods, and at the time of his death was one of its examiners.

Initially the churches in Gothic Revival style incorporated Gothic-like features, such as lancet windows, and towers with pinnacles and crockets.

A. W. N. Pugin argued that these features should correctly and accurately reflect medieval Gothic architecture rather than mimic it, and Sharpe became an expert in this movement.

At the same time the Cambridge Camden Society, influenced by the Oxford Movement, were advocating a more sacramental form of liturgy, which required a larger chancel than that normally provided in the Commissioners' Churches.

Paley was also influenced in this by his brother, Frederick, who was a member of the Camden Society and was himself an expert on medieval architecture.

[29][30] His most important building, the Royal Albert Asylum (1868–73), is Gothic in style,[31] but, in the opinion of Hartwell and Pevsner, it incorporates French features, in particular the steep hipped roof of the central tower.

[32] After Hubert Austin joined the practice, it becomes difficult to determine the specific input of any individual partner.

They had five children: three daughters followed by two sons, the youngest of whom, Henry Anderson (known as Harry), joined his father as a partner in the practice.

Paley took little interest in local politics, although he did serve as a Conservative councillor for three years from 1858; he declined to be renominated at the end of his term.

[35] He was involved in other ways in social concerns, serving on the committees of local schools and the Mechanics' Institute.

He also played a major part in establishing the Royal Albert Asylum, designing the building and serving on its committee.

[42] In 1901 the German architect and critic Hermann Muthesius mentioned it in his survey of English churches "with some enthusiasm".

[45] Later Paley's work tended to be overshadowed by Austin, although it is usually impossible to determine which partner was responsible for which design.