AcknowledgmentsIllustrationsFrederick BURWICK: Verbal and Visual Modes of ImaginationPART I: IMAGINATIONJürgen KLEIN: Genius, Ingenium, Imagination: Aesthetic Theories of Production from the Renaissance to RomanticismWerner HOFMANN: The Dark Total Idea: Schiller on the Creative ProcessHorst MELLER: The Parricidal Imagination: Schiller, Blake, Fuseli and the Romantic Revolt against the FatherGabriele ROMMEL: Imagionation in the Transcendental Poetics of NovalisPART II: THE SISTER ARTSFrederick BURWICK: Blake's Laocoönand Job: or, On the Boundaries of Painting and PoetryRoswitha BURWICK: Physiology of Perception: Achim von Arnim's Practical and Historical AestheticsWilhelmina L. HOTCHKISS: Grounds for Change: Wordsworth, Constable and the Uses of PlaceNorma S. DAVIS: Poet and Painter: Beaumont's Illustrations in the Poetry of William WordsworthJ. DRUMMOND BONE: Turner and Shelley: The Sense of a ComparisonPART III: THE SUBLIME AND THE PICTURESQUEAnne K. MELLOR: Immortality or Monstrosity? Reflections on the Sublime in Romantic Literature and ArtHans-Ulrich MOHR: The Picturesque: A Key Concept of the Eighteenth CenturyLilian R. FURST: In Other Voices: Wackenroder's Herzensergießungenand the Creation of a Romantic MythologyPART IV: EKPHRASISJames A.W. HEFFERNAN: Byron and SculptureWolf Z. HIRST: How Dreams Become Poems: Keats's Imagined Sculpture and Re-Vision of EpicGrant F. SCOTT: Shelley, Medusa, and the Perils of EkphrasisPART V: MODE, MANNER, STYLEBarbara Maria STAFFORD: Bare versus Prismatic Style: Newton, Piranesi and Eighteenth-Century Theories of Abstraction in Art and ScienceGerald FINLEY: Pigment into Light: Turner, and Goethe's Theory of ColoursMurray ROSTON: The Contemplative ModeKarl KROEBER: The Clarity of the Mysterious and the Obscurity of the Familiar: Friedrich and TurnerJörg TRAEGER: ...As if one's Eyelids had been Cut Away: Imagination in Turner, Friedrich, and DavidIndex