Richard Jago (1715-1781)[182], in his “Edgehill” (1767), has such instances as “the _woodland-shade_,” “the _wave-worn_ face,” and “the tillag’d plain _wide-waving_.” The Rev. R. Potter,[183] who imitated Spenser in his “Farewell Hymn to the Country” (1749), has happy examples like “_mavis-haunted_ grove” and “this _flowre-perfumed_ aire.” In William Whitehead’s poems[184] there are numerous formations like “_cloud-enveloped_ towers” (“A Hymn”) and “_rock-invested_ shades” (“Elegy,” IV). A few new descriptive terms appear in the work of John Langhorne (1735-1779),[185] “_flower-feeding_ rills” (“Visions of Fancy,” I), “_long-winding_ vales” (“Genius and Valour”), etc. Michael Bruce (1746-1767) in his “Lochleven”[186] has, e.g., “_cowslip-covered_ banks,” and fresh observation of bird life is seen in such phrases as “_wild-shrieking_ gull” and “_slow-wing’d_ crane.” James Graeme (1749-1772)[187] has at least one new and happy compound in his line The _blue-gray_ mist that hovers o’er the hill. (“Elegy written in Spring”) John Scott (1730-1783)[188] makes more use of compound formations than most of his minor contemporaries. He has many instances of Type IV (noun _plus_ participle), including “_rivulet-water’d_ glade” (Eclogue I), “_corn-clad_ plain,” “_elder-shaded_ cot” (“Amwell”). His few instances of Type VI (e.g. “_wildly-warbled_ strain,” (“Ode” IV)), and of Type VII (e.g. “_trefoil-purpled_ field” (“Elegy,” III)); “_may-flower’d_ hedges” (“Elegy,” IV); and “_golden-clouded_ sky,” (“Ode,” II), are also worthy of notice. Meanwhile another aspect of the rising Romantic movement was revealing itself in the work of Chatterton. With the “antiquarianism” of the Rowley poems we are not here concerned, but the language of both the “original” work and of the “discovered” poems contains plenty of material relevant to our special topic. Chatterton, indeed, seems to have had a predilection for compound formations, though he has but few instances of compound substantives (e.g. “_coppice-valley_” (“Elegy”), and instances of Type II (noun _plus_ adjective) are also rare. The other types of epithets are, however, well represented: “_echo-giving_ bells” (“To Miss Hoyland”), “_rapture-speaking_ lyre” (“Song”), etc. (Type III), though it is perhaps in Type IV that Chatterton’s word-forming power is best shown: “_flower-bespangled_ hills” (“Complaint”), “_rose-hedged_ vale” (“Elegy at Stanton-Drew”), etc., where the first compound epithet is a new and suggestive descriptive term. His examples of Type V are also worth noting: “_verdant-vested_ trees” (“Elegy,” V), “_red-blushing_ blossom” “Song”), whilst one of the best of them is to be found in those lines, amongst the most beautiful written by Chatterton, which reflect something of the new charm that men were beginning to find in old historic churches and buildings: