Johnson also objected to another device by which Gray had sought to enrich the vocabulary of poetry, as reflected in his use of the “participal” epithet in -_ed_.[178] If this device for forming new epithets cannot be grammatically justified, the practice of the best English poets at least has always been against Johnson’s dictum, and, as we have seen, it has been a prolific source of original and valuable compound epithets. Of this type Gray has some six or seven examples, the majority of which, however, had long been in the language, though in the new epithet of “the _ivy-mantled_ tower” (Elegy IX) we may perhaps see an indication of the increasing Romantic sensibility towards old ruins. Though not admitted to the same high rank of poets as Collins and Gray, two of their contemporaries, the brothers Warton, are at least of as great importance in the history of the Romantic revival.[179] From our present point of view it is not too fanciful to see a reflection of this fact in the compound epithets freely used by both of the Wartons. Thomas Warton is especially noteworthy; probably no other eighteenth century poet, with the exception of James Thomson, has so many instances of new compound formations, and these are all the more striking in that few of them are of the mechanical type, readily formed by means of a commonplace adjective or adverb. Instances of compound substantives (Type I) are almost entirely lacking, and the same may be said of the noun _plus_ adjective epithets (Type II). There are, however, a few examples of Type III (noun _plus_ present participle), some of which, as “_beauty-blooming_ isle” (“Pleasures of Melancholy”), “_twilight-loving_ bat” (_ibid._), and “the woodbines _elm-encircling_ spray” (“On a New Plantation”), no doubt owe something to the influence of Thomson. Instances of Type IV are plentiful, and here again there is a welcome freshness in Warton’s epithets: “Fancy’s _fairy-circled_ shrine” (“Monody Written near Stratford-on-Avon”), “morning’s _twilight-tinctured_ beam” (“The Hamlet”), “_daisy-dappled_ dale” (“Sonnet on Bathing”). One instance of this class of compound epithet, “the _furze-clad_ dale,” is certainly significant as indicative of the changes that were going on from the “classical” to the Romantic outlook towards natural scenery.[180]