Byron was at this time in excellent health and spirits, and the society of the Shelleys made life unusually pleasant to him. Ravenna, with its gloomy forebodings, its limited social intercourse, to say nothing of its proscriptions--for nearly all Byron's friends had been exiled--was a thing of the past. The last phase had dawned, and Byron was about to show another side of his character. Medwin tells us that Byron's disposition was eminently sociable, however great the pains which he took to hide it from the world. On Wednesdays there was always a dinner at the Palazzo Lanfranchi, to which the _convives_ were cordially welcomed. When alone Byron's table was frugal, not to say abstemious. But on these occasions every sort of wine, every luxury of the season, and every English delicacy, were displayed. Medwin says he never knew any man do the honours of his house with greater kindness and hospitality. On one occasion, after dinner, the conversation turned on the lyrical poetry of the day, and a question arose as to which was the most perfect ode that had been produced. Shelley contended for Coleridge's on Switzerland beginning, 'Ye clouds,' etc.; others named some of Moore's 'Irish Melodies' and Campbell's 'Hohenlinden'; and, had Lord Byron not been present, his own Invocation to Manfred, or Ode to Napoleon, or on Prometheus, might have been cited. 'Like Gray,' said Byron, 'Campbell smells too much of the oil: he is never satisfied with what he does; his finest things have been spoiled by over-polish--the sharpness of the outline is worn off. Like paintings, poems may be too highly finished. The great art is effect, no matter how produced.' And then, rising from the table, he left the room, and presently returned with a magazine, from which he read 'The Burial of Sir John Moore' with the deepest feeling. It was at that time generally believed that Byron was the author of these admirable stanzas; and Medwin says: 'I am corroborated in this opinion lately (1824) by a lady, whose brother received them many years ago from Lord Byron, in his lordship's own handwriting.' These festive gatherings were not pleasing to Shelley, who, with his abstemious tastes and modest, retiring disposition, disliked the glare and surfeit of it all. But Shelley's unselfish nature overcame his antipathy, and for the sake of others he sacrificed himself. In writing to his friend Horace Smith, he marks his repugnance for these dinners, 'when my nerves are generally shaken to pieces by sitting up, contemplating the rest of the company making themselves vats of claret, etc., till three o'clock in the morning.' Nevertheless, companionship with Byron seemed for a time, to Shelley and Mary, to be like 'companionship with a demiurge who could create rolling worlds at pleasure in the void of space.' Shelley's admiration for the poetic achievements of Byron is well known: