How is "The Legend of Sleepy Hollow" both Classical and Romantic, and what about Irving's writing style is both Classical and Romantic?

This question is apropos because Irving is a transitional writer, appearing at a time before Romanticism had fully become a part of American literature with Hawthorne, Poe, and others. The more traditional, or "classical" elements of "The Legend of Sleepy Hollow" are expressed in both the "moral" of the story, and in its being anchored in the reality that the Headless Horseman is probably, in fact, Ichabod's rival who scares him off so that he, Brom, can marry Katrina. The moral is basically that Ichabod, courting Katrina because of her wealth, deserves to be frightened off by his superstitious belief in the Horseman. Part of the ethos of Romanticism was to discard the moral preoccupations of previous ages, and Irving resists this trend.
His stories also tend to be set firmly in post-Revolution America, with clear references to the War of Independence that had so changed the world of the New Yorkers and everyone else. It's a similar situation in "Rip van Winkle," where Rip, after awakening from his twenty-year sleep, becomes an emblem of the past, of the vanished world that existed prior to the Revolution. In setting his stories firmly in the present time, Irving is unlike the Romantics, who more often would place their tales in an indefinite or remote past, as Hawthorne does with the New England of two hundred years earlier, and as Poe does in "The Pit and the Pendulum" (set during the Inquisition) or in his avoiding any reference to contemporary events even in stories that apparently take place in the present like "The Black Cat" and "The Tell-Tale Heart.' The more fully Romantic writings give the impression of timeless fairy tales rather than realistic narratives.
That said, in many ways Irving is a Romantic. His prose is descriptive, and poetically so, of Nature, of the rural setting around Tarrytown, NY, of the charms and mysteries of the beautiful Hudson Valley. Obsession with nature, with the beauty of the forest and the countryside (in opposition to man-made town and city) was typical of the Romantics, not only the English poets like Wordsworth and Coleridge who were in the forefront of the movement, but also the German writers who influenced them like Ludwig Tieck and Clemens Brentano.
And perhaps most important of all, in "The Legend of Sleepy Hollow" as in "Rip van Winkle," the supernatural element—whether real or merely imagined superstitiously by the characters—is on an equal footing with the more realistic tendency. The story revolves around a legend about a ghost. Romantic writers tended to emphasize the supernatural, which in some sense represented to them a more "real" world than the mundane concerns of the previous era, the eighteenth-century Age of Reason. The Romantic movement was obsessed with the mysterious, the irrational, and this trend appears side by side with the naturalistic elements in Irving's work. Though the Headless Horseman, in all probability, is just a legend and is impersonated by Brom to scare off Ichabod, one can never really be sure this is what happens and that the ghost is not real. This puzzle, or apparent paradox, encapsulates the coexistence in Irving's story of both the Classic and Romantic.