In the opinion of Sainte-Beuve, Fenimore Cooper possessed the "creative faculty which brings into the world new characters, and by virtue of which Rabelais produced Panurge, Le Sage Gil-Blas, and Richardson Pamela." Thackeray, praising the heroes of Scott's creation, expressed an equal liking for Cooper's, adding that "perhaps Leather-Stocking is better than any one in Scott's lot. La Longue Carabine is one of the great prize-men of fiction. He ranks with your Uncle Toby, Sir Roger de Coverley, Falstaff—heroic figures all, American or British; and the artist has deserved well of his country who devised him." Thackeray proved the sincerity of his admiration when he borrowed a hint from the noble death-scene of Leather-Stocking in The Prairie, and adapted it to describe the passing of Colonel Newcome.

Cooper's wide audience of general readers is here in agreement with Sainte-Beuve the critic and Thackeray the novelist. Whatever else may be said of Cooper's works it is certain that in the man Natty Bumppo, known as "Leather-Stocking," "Pathfinder," "Deerslayer," and "La Longue Carabine," Cooper created an immortal being. Among heroes of fiction Leather-Stocking stands with the few that are as real to the imagination as the personages of veritable history. Readers of Cooper recall Leather-Stocking with genuine affection; others, without having read a line of the Leather-Stocking Tales have somehow formed an idea of his person and character. Leather-Stocking is a rare hero in being noble without being offensive. "Perhaps there is no better proof of Cooper's genuine power," says Brander Matthews, "than that he can insist on Leather-Stocking's goodness,—a dangerous gift for a novelist to bestow on a man,—and that he can show us Leather-Stocking declining the advances of a handsome woman,—a dangerous position for a novelist to put a man in,—without any reader ever having felt inclined to think Leather-Stocking a prig."

Leather-Stocking was first introduced to the public in The Pioneers, the novel descriptive of early days in Cooperstown which Cooper published in 1823. The character was not yet fully developed, but Nathaniel Bumppo in outward appearance stood at once complete. "He was tall, and so meagre as to make him seem above even the six feet that he actually stood in his stockings. On his head, which was thinly covered with lank, sandy hair, he wore a cap made of fox-skin. His face was skinny, and thin almost to emaciation; but yet it bore no signs of disease; on the contrary, it had every indication of the most robust and enduring health. The cold and the exposure had, together, given it a color of uniform red. His gray eyes were glancing under a pair of shaggy brows, that overhung them in long hairs of gray mingled with their natural hue; his scraggy neck was bare, and burnt to the same tint with his face. A kind of coat, made of dressed deerskin, with the hair on, was belted close to his lank body, by a girdle of colored worsted. On his feet were deerskin moccasins, ornamented with porcupines' quills, after the manner of the Indians, and his limbs were guarded with long leggings of the same material as the moccasins, which, gartering over the knees of his tarnished buckskin breeches, had obtained for him, among the settlers, the nick-name of Leather-Stocking."

In this story the novelist had presented Leather-Stocking as a finished portrait, with his long rifle, dog Hector, and all. Cooper had described him as a man of seventy years, and intimated no purpose of carrying him over into another volume. Natty Bumppo proved to be so popular, however, that in 1826 Cooper made him an important figure in The Last of the Mohicans, representing him in young manhood, at the age of thirty years, and betrayed a more profound interest in the spirit of the character which he had discovered. The success of this venture encouraged the author, in the next year, to bring Leather-Stocking forward, for what he intended to be the last time, in The Prairie. The closing chapter of that story describes the death and burial of Leather-Stocking.

But the public could not have enough of Natty Bumppo, and the result was that, after leaving him in his grave, Cooper resurrected Leather-Stocking as the hero of two more novels. In The Pathfinder, published in 1840, he described Natty Bumppo at the age of forty years; and The Deerslayer, the last published of the series, gave a youthful picture of Leather-Stocking at the age of twenty. When the Leather-Stocking Tales were afterward published complete they of course followed the logical order in the presentation of the hero's life, without regard to the dates of original publication. The actual order in which they were written, however, suggests an interesting glimpse of Cooper's method of work in developing his most successful character.

It is generally believed that an old hunter named Shipman, who lived in Cooperstown during Fenimore Cooper's boyhood, suggested to the novelist the picturesque character of Leather-Stocking. The persistence of this tradition requires some explanation, for it is not strikingly confirmed by what Cooper himself had to say of the matter. In the preface of the Leather-Stocking Tales, written after the series was complete, he said: "The author has often been asked if he had any original in his mind for the character of Leather-Stocking. In a physical sense, different individuals known to the writer in early life certainly presented themselves as models, through his recollection; but in a moral sense this man of the forest is purely a creation."

In the face of this, the most that can be said for the current tradition is that Cooper's assertion does not exclude it from consideration. What he lays stress upon is that the inner spirit of Leather-Stocking was the novelist's creation. His statement is not inconsistent with the possibility that he had the hunter Shipman chiefly in mind as the prototype of Leather-Stocking, with some characteristics added from other hunters, of whom there were many in the early days of Cooperstown. The heat with which he denies having drawn upon the character of his own sister in portraying the heroine of The Pioneers seems to betray a feeling, which later writers have not often shared, that an author cannot transfer real persons to the pages of fiction without a violation of good taste. Here lies perhaps a partial explanation of the fact that Cooper never acknowledged a living model for any of his characters. Even Judge Temple in The Pioneers, who occupies exactly the position of Judge Cooper in reference to the village which he actually founded, Fenimore Cooper will not admit to be drawn in the likeness of his father. He disposes of this supposition in the introduction of The Pioneers by observing that "the great proprietor resident on his lands, and giving his name to his estates, is common over the whole of New York." Yet in the same introduction he confesses that "in commencing to describe scenes, and perhaps he may add characters, that were so familiar to his own youth, there was a constant temptation to delineate that which he had known, rather than that which he might have imagined." How far he yielded to the temptation is a question which, in making as if to reply, he deftly leaves unanswered, and his unwillingness to satisfy curiosity on this point is the one thing that a careful reading of his words makes clear. He is free to admit in a general way that he drew upon life for material, but he will not be pinned down as to any particular character; yet only in the one instance—when his sister was named as the original of Elizabeth Temple—did he flatly deny the identification of a real original with a creature of his fiction. After all, even if Cooper had drawn many of his characters from real life, there would have been so much modification necessary to fit them into the action of a story as to warrant him in the assertion "that there was no intention to describe with particular accuracy any real character"; and if he did not wish to take the public into his confidence regarding these intimate details of his work, he had a perfect right to treat the matter as evasively as the truth would permit.

One can see reasons for Cooper's unwillingness to inform the public that his old neighbors in Cooperstown were to be recognized in his books. There is the creative artist's reason, who does not wish to be regarded as a mere photographer; there is the gentleman's sensitiveness to certain rights of privacy not to be invaded by public print; there is the experience of a writer who was often dismayed at the facility of his pen in stirring neighborly animosities.

As to Leather-Stocking, this is to be said: that in Cooper's boyhood there lived in Cooperstown a hunter named Shipman whom Cooper himself in the Chronicles of Cooperstown, published in 1838, described as "the Leather-Stocking of the region." Furthermore,—whether owing to any private information from Fenimore Cooper cannot now be ascertained,—the tradition from his time to the present day, in spite of the author's vague disclaimer, persistently clings to Shipman as the original of Leather-Stocking.

Strangely enough, the matter in dispute has not been the identity of Shipman with Leather-Stocking, but the identity of Shipman himself. Who was Shipman? This is the question that has stirred controversy; and two ghosts have arisen from the past, each claiming to be the Shipman whom Cooper idealized, re-christened, and made immortal.

Cooper gave to his hero the name of Nathaniel Bumppo. It has been claimed that Cooper borrowed not only the character but the Christian name of Nathaniel Shipman, a famous hunter and trapper, who came to Otsego Lake at the time of the Revolutionary War, and made his home in a cave on the border of the lake until about 1805.

According to the discoverers of this original of Leather-Stocking, Nathaniel Shipman was a close friend of the Mohican Indians, and fought with them against the French and the Canadian Indians. In the years immediately preceding the American Revolution Shipman was a well known settler of Hoosick, northeast of Albany and near the border of Vermont, where he had built him a cabin on the banks of the Walloomsac. He was well disposed toward the English, and one of his closest friends was an officer in the British army. When the Revolutionary War began, while Shipman's heart was with the movement for independence, his friendship for the English was such that he determined to be strictly neutral, helping neither one side nor the other. There is nothing to show that he was not genuinely neutral. But his patriot neighbors were intolerant of such neutrality. Anyone who was not for them was against them. Shipman was put down as a Tory, and his neighbors treated him to a coat of tar and feathers.

Soon after this event Nathaniel Shipman disappeared from Hoosick, and not even his own family knew whither he had gone.

In process of time Shipman's daughter married a John Ryan of Hoosick. Ryan served in the Legislature from 1803 to 1806, and at that time became acquainted with Judge William Cooper, founder of Cooperstown, and father of the novelist. In the course of their frequent meetings Judge Cooper told Ryan of an interesting character whom he had seen in Cooperstown, and described the picturesque appearance and quaint sayings of the old hunter who lived on the border of Otsego Lake. At home Ryan told the story to his wife, who soon became convinced that the old white hunter whom Cooper had described was none other than her father, who had been missing for twenty-six years.

Ryan went to Otsego Lake, and, having found the hunter, learned that he was indeed Nathaniel Shipman who had disappeared from Hoosick at the time of the Revolutionary War. Ryan persuaded the old man to return with him, and brought him back to live in the home which then stood some two miles east of Hoosick Falls. In spite of the devotion of his daughter, however, the aged hunter never felt quite at home beneath her roof, or among the former neighbors. His heart was in the wilds, and it is said that he made frequent visits to the place where he had passed so many years in unrestricted freedom, where there was none to question his sincerity or to doubt his loyalty.

Nathaniel Shipman died at the Ryan home in 1809, and his grave is in the old burying ground on Main Street in Hoosick Falls.

The local tradition in Cooperstown does not recognize Nathaniel Shipman of Hoosick Falls. When a movement was made in 1915 to erect at Hoosick Falls a monument to Nathaniel Shipman as the original of Leather-Stocking, the proposition was made the subject of scornful comment in Cooperstown, and Nathaniel Shipman of Hoosick was referred to as "a spurious Natty Bumppo."

Cooperstown agrees that the original of Leather-Stocking was named Shipman. But the name of the original hunter was not Nathaniel. He was David Shipman. His grave is not far from Cooperstown, in the Adams burying ground between the villages of Fly Creek and Toddsville, and at the beginning of the twentieth century was marked with a tombstone by Otsego chapter of the Daughters of the American Revolution. David Shipman's descendants live in Cooperstown at the present time. When the Hoosick Falls claim to Leather-Stocking was first published in 1915, it was accompanied with the statement that the facts were known to the people of Hoosick sixty years before. Notwithstanding this the claim was contradicted in Cooperstown by the positive statement that "for over a century David Shipman has held the undisputed honor of being the real Leather-Stocking of Cooper's tales."

David Shipman served in the American army in the Revolutionary War, and was a member of the Fourteenth Regiment of Albany county militia under Col. John Knickerbocker and Lieut.-Col. John van Rensselaer. After the Revolution he lived just over the hills west of Cooperstown in a log cabin on the east bank of Oak's Creek, about equi-distant between Toddsville and Fly Creek village. In 1878 Aden Adams of Cooperstown, aged 81, stated that he well remembered David Shipman. As described by Adams, he was tall and slim, dressed in tanned deerskin, wore moccasins and long stockings of leather fastened at the knee, and carried a gun of great length. He was one of the most famous hunters of the whole country, and with his dogs roamed the forest in search of deer, bear, and foxes. He supplied the Cooper family at Otsego Hall with deer and bear meat, and also assisted Judge Cooper when he was surveying land about Cooperstown in the early days of the settlement. Colonel Cheney[91] says that after going west, David Shipman returned to his old home in the Fly Creek valley, and lived there for several years. His wife died, and was buried in the Adams cemetery. The ground was wet, and water partially filled the grave. Elder Bostwick, a Baptist minister from the town of Hartwick, officiated at the funeral, and upon remarking to Shipman that it was a poor place to bury the dead, the old hunter answered, "I know it, but if I live to die, I expect to be buried here myself."[92]

Cooper's most famous hero, carved in marble, rifle in hand, and with the dog Hector at his feet, stands at the top of the Leatherstocking monument in Lakewood cemetery, on a rise of ground near the entrance, overlooking Otsego Lake from the east side, about fifteen minutes walk from the village of Cooperstown. That a monument commemorative of Cooper and Leather-Stocking should stand in the public cemetery, in which neither the author nor his supposed model is buried, is sometimes puzzling to visitors. It is said, however, that the site was chosen with reference to certain scenes in The Pioneers. The monument stands near the spot upon which the novelist, for the purpose of his romance, placed the hut of Natty Bumppo. It is not far below the road referred to in the opening scene of the tale, where the travelers gained their first glimpse of the village, and stands at the foot of the wooded slope upon which, in the same story, Leather-Stocking shot the panther that was about to spring upon Elizabeth Temple.

The monument itself was the result of an unsuccessful effort which was made shortly after Fenimore Cooper's death in 1851 to erect in his memory a statue or monument in one of the public squares of New York City. To this end, ten days after his death, a public meeting of citizens of New York, at which Washington Irving presided, was held in the City Hall; two weeks later the Historical Society of New York held a meeting in commemoration of Cooper; and on February 24, 1852, there was a great demonstration at Metropolitan Hall, with speeches by Daniel Webster and George Bancroft, and a memorial discourse by William Cullen Bryant. The raising of funds for a memorial, which these meetings set as their object, was not commensurate with the expenditure of rhetoric. The sum of $678 was contributed, chiefly at the meeting in Metropolitan Hall, and the committee organized to solicit subscriptions did nothing further.

Six years later Alfred Clarke and G. Pomeroy Keese of Cooperstown undertook to raise by subscription a sufficient sum to erect a monument in Cooper's memory in or near the village in which he lived, having in view the transfer of whatever sum might be on deposit in New York toward the proposed monument. They raised $2,500, to which Washington Irving, acting for the defunct committee in New York, added the $678 already contributed.

The monument, of white Italian marble, with the statuette of Leather-Stocking at the top, was sculptured by Robert E. Launitz, and erected in the spring of 1860. The small bronze casts of this statuette, which one sees in some of the older homes in Cooperstown, belong to the same period.

Another attempt to give artistic expression to pride in Natty Bumppo was wrought in less permanent material. Upon the drop-curtain on the stage of the Village Hall was painted the scene from The Pioneers which represents Leather-Stocking, Judge Temple, and Edwards grouped about a deer that has been shot on the border of the lake. In producing this scene the artist enlarged an illustration drawn by F. O. C. Darley for an early edition of The Pioneers. The original scene described by Cooper, and as depicted by Darley, was a wintry one, showing the lake shore in a mantle of snow. This was thought to be a bit too chilly for a playhouse, so the view as transferred to the curtain was brightened up by the addition of green foliage; and deft touches of the scene painter's brush, without altering the pose of any of the figures, changed winter into glorious summer. Many a Cooperstown audience, waiting for the performance to begin, has studied the scene which this curtain displays, not without wonder that Leather-Stocking is in furs, and that Judge Temple, in so radiant a summertime, has taken the precaution to retain his earmuffs.

Natty Bumppo's Cave, a not very remarkable freak of nature which Fenimore Cooper's pen has made one of the chief points of interest in the region of Cooperstown, is about a mile from the village, high up on the hill that rises from the eastern side of the lake. It offers a stiff climb to the inexperienced, but not to others. It is not much of a cave, being hardly more than a deep and curiously formed cleft between the rocks. From the platform of rock over the cave a magnificent view may be had of the lake and its more distant shores, with the hills beyond.

In The Pioneers Cooper takes advantage of poetic license to enlarge the cave for the purpose of his story, but the description is exact enough to identify it with the present Natty Bumppo's cave. In the summer of 1909 was discovered lower down the hillside another and larger cave, the small entrance of which, in the woods beyond Kingfisher Tower, at Point Judith, had long remained unobserved. Here the name of Natty Bumppo came near being involved in another controversy, for some local archeologists maintained that the newly discovered cave was the one which Cooper meant to describe as Natty Bumppo's, being better adapted to the requirements of the narrative than the one that tradition had fixed upon.

Cooper might have provided a better cave for Natty Bumppo, but he did not. On this point the testimony of his eldest daughter, Susan Fenimore Cooper, is decisive. She was in many ways her father's confidant, and in his later years closely associated with him in literary work. No other person has written so intimately of him. In Pages and Pictures, which Miss Cooper published in 1861, she gives a drawing of Natty Bumppo's cave, and it is the one that has been associated with the tradition and story of the village down to the present time. It is quite possible, however, that the cave near Point Judith is the one referred to in the tradition of Nathaniel Shipman of Hoosick Falls.

Natty Bumppo will live forever as a symbolic figure, representative of certain indigenous qualities in American life. Lowell found in Leather-Stocking "the protagonist of our New World epic, a figure as poetic as that of Achilles, as ideally representative as that of Don Quixote, as romantic in his relation to our homespun and plebeian myths as Arthur in his to his mailed and plumed cycle of chivalry." Americans themselves do not realize how widely, in other countries, Leather-Stocking is still regarded as typical of certain qualities in the American character. Among Americans who had half-forgotten their Cooper, there was no little surprise at the exclamation of Gabriel Hanotaux, member of the French Academy, distinguished author and statesman of France, when, in the spring of 1917, on the entrance of the United States into the war against Germany, he expressed his joy in a message that was cabled round the world, "Old Leather-Stocking still slumbers in the depth of the American soul!"

There is a point on Otsego Lake, opposite to Natty Bumppo's cave, from which passing boatmen awaken the famous Echo of the Glimmerglass. For more than half of the nineteenth century there lived in the village a negro whose lungs were renowned for their power to call forth the fullness of this strange echo. "Joe Tom," as he was named, was always called upon, as the guide of lake excursions, to perform this peculiar duty. Stationing his scow at the focal point, the negro would shout across the water, "Natty Bumppo! Natty Bumppo!—Who's there?" And after a moment the cry would be flung back, as by the spirit of Leather-Stocking, from the heights of the steep woods and rocky faces of the hill. On a still summer evening Joe Tom was sometimes able, by a single shout, to call forth three distinct echoes, which were heard in regular succession,—the first from the region of the cave, the second from Mount Vision, and the third from Hannah's Hill on the opposite side of the lake, until the margin of the Glimmerglass seemed to resound with cries of "Natty Bumppo!—Natty Bumppo!" uttered by eerie voices.

The years pass, and no other name retains such magic power to wake the sleeping echo of the Glimmerglass.