This paper examines how the
integral relationship between the visual and verbal genres of the Romantic period of letters
are perhaps some of its most
striking aspects. It looks at how poetry and
painting, in particular, seemed to be fused in a homogeneous blend of intense individualism, emphasis on naturalism, and a stress upon spontaneous human feeling, with all of its imperfections. It discusses how this integral relationship between the visual art of painting and the verbal art of poetry is not exclusive to those artists who merged these two talents in their careers such as William Blake and shows how even writers such as William Wordsworth, who strictly identified themselves as poets, for instance, are notable for the striking visual imagery of their poems, in contrast to the Classicist emphasis on verbal wit.