These works were a revelation to the men who had begun to despair of Cooper's ever accomplishing again anything worthy of his early renown. They were pure works of art. No moral was everlastingly perking itself in the reader's face, no labored lecture to prove what was self-evident interrupted the progress of the story. There is scarcely an allusion to any of the events which had checkered the novelist's career. References to contemporary occurrences are so slight that they would pass unheeded by any one whose attention had not been called beforehand to their existence. These works showed what Cooper was capable of when he gave full play to his powers, and did not fancy he was writing a novel when he was indulging in lectures upon manners and customs. "It is beautiful, it is grand," said Balzac to a friend, speaking of "The Pathfinder." "Its interest is tremendous. He surely owed us this masterpiece after the last two or three rhapsodies he has been giving us. You must read it. I know no one in the world, save Walter Scott, who has risen to that grandeur and serenity of colors." "Never," he said in another (p. 241) place, "did the art of writing tread closer upon the art of the pencil. This is the school of study for literary landscape-painters." Cooper himself, if contemporary reports are to be trusted, was at the time in the habit of saying that the palm of merit in his writings lay between this novel and "The Deerslayer." He certainly reckoned them the best of the five stories which have the unity of a common interest by having the same hero, and these five he put at the head of his performances. "If anything from the pen of the writer of these romances," he said, toward the close of his life, "is at all to outlive himself, it is unquestionably the series of 'The Leather-Stocking Tales.' To say this is not to predict a very lasting reputation for the series itself, but simply to express the belief that it will outlast any or all of the works from the same hand."