Much the same line of discussion is reported of the conversation at Haydon's "immortal dinner," December 28, 1817, when Keats and Lamb denounced Sir Isaac Newton and his demolition of the things of the imagination, Keats saying he "destroyed the poetry of the rainbow by reducing it to a prism."[156] The pictorial features of the _Eve of St. Agnes_ were particularly admired by Hunt, as one might be led to expect from the decorative detail of his own narrative poetry. The portrait of "Agnes" (_sic_ for Madeline) is said to be "remarkable for its union of extreme richness and good taste" and "affords a striking specimen of the sudden and strong maturity of the author's genius. When he wrote _Endymion_ he could not have resisted doing too much. To the description before me, it would be a great injury either to add or to diminish. It falls at once gorgeously and delicately upon us, like the colours of the painted glass." Of the description of the casement window, Hunt asks "Could all the pomp and graces of aristocracy with Titian's and Raphael's aid to boot, go beyond the rich religion of this picture, with its 'twilight saints' and its 'scutcheons blushing with the blood of queens'?" Elsewhere he says that "Persian Kings would have filled a poet's mouth with gold" for such poetry. Hunt calls _Hyperion_[157] "a fragment, a gigantic one, like a ruin in the desert, or the bones of the mastodon. It is truly of a piece with its subject, which is the downfall of the elder gods." Later, in _Imagination and Fancy_, Hunt declared that Keats's greatest poetry is to be found in _Hyperion_. His opinion of the whole is thus summed up: "Mr. Keats's versification sometimes reminds us of Milton in his blank verse, and sometimes of Chapman both in his blank verse and in his rhyme; but his faculties, essentially speaking, though partaking of the unearthly aspirations and abstract yearnings of both these poets, are altogether his own. They are ambitious, but less directly so. They are more _social_, and in the finer sense of the word, sensual, than either. They are more coloured by the modern philosophy of sympathy and natural justice. _Endymion_, with all its extraordinary powers, partook of the faults of youth, though the best ones; but the reader of _Hyperion_ and these other stories would never guess that they were written at twenty.[158] The author's versification is now perfected, the exuberances of his imagination restrained, and a calm power, the surest and loftiest of all power, takes place of the impatient workings of the younger god within him. The character of his genius is that of energy and voluptuousness, each able at will to take leave of the other, and possessing in their union, a high feeling of humanity not common to the best authors who can combine them. Mr. Keats undoubtedly takes his seat with the oldest and best of our living poets."[159]