Of Haydon himself and of his powers as a painter Keats continued to think as highly as ever, seeing in his pictures, as the friends and companions of every ardent and persuasive worker in the arts are apt to see, not so much the actual performance as the idea he had pre-conceived of it in the light of his friend's enthusiastic ambition and eloquence. Severn repeatedly insists on Keats's remarkably keen natural instinct for and understanding of the arts both of music and painting. Cowden Clarke's piano-playing had been one of the chief pleasures of his school-days: as to the capacity he felt in himself for judging the works of painting, here is his own scrupulously modest and sincere estimate expressed to Haydon a little later: Believe me Haydon your picture is part of myself--I have ever been too sensible of the labyrinthian path to eminence in Art (judging from Poetry) ever to think I understood the emphasis of painting. The innumerable compositions and decompositions which take place between the intellect and its thousand materials before it arrives at that trembling delicate and snail-horn perception of beauty. I know not your many havens of intenseness--nor ever can know them: but for this I hope nought you achieve is lost upon me: for when a Schoolboy the abstract idea I had of an heroic painting--was what I cannot describe. I saw it somewhat sideways, large, prominent, round, and colour'd with magnificence--somewhat like the feel I have of Anthony and Cleopatra. Or of Alcibiades leaning on his Crimson Couch in his Galley, his broad shoulders imperceptibly heaving with the Sea.