Among others present was Miss Anne Scott, who was her father's traveling companion. "She was in half mourning, and with her black eyes and jet-black hair might very well have passed for a French woman." Of Scott Cooper wrote: "During the time the conversation was not led down to business, he manifested a strong propensity to humor." In naming their common publisher in Paris "he quaintly termed him, with a sort of malicious fun, 'our gosling' (his name was Goselin), adding that he hoped at least he 'laid golden eggs.'" Mr. Cooper was
warmly interested in aiding Sir Walter's "Waverley" copyrights in America, and concerning their author he later wrote: "In Auld Reekie, and among the right set, warmed, perhaps, by a glass of 'mountain dew,' Sir Walter Scott, in his peculiar way, is one of the pleasantest companions the world holds." About 1830, when Cooper was sitting for his portrait by Madame de Mirbel, that artist—for its pose—asked him to look at the picture of a distinguished statesman. Cooper said: "No, if I must look at any, it shall be at my master," and lifting his eyes higher they rested on a portrait of Sir Walter Scott.
One of Cooper's steadfast friends exclaimed of him:—"What a love he cherished for superior talents in every ennobling pursuit in life!" This characteristic no doubt led him into that day life of Pierre Jean David d'Angers, whose brave soul had battled its way to artistic recognition. In M. Henry Jouin's "David d'Angers et ses Relations Littéraires," Paris, 1890, appear two letter records of this master-sculptor as to Cooper. In that of David to Victor Pavie, November, 1826, is: "Next week I am to dine with Cooper; I
shall make his bust. If you have not yet read his works, read them, you will find the characters vigorously traced." A note adds that the sculptor kept his word, and this bust of Cooper appeared in the "Salon of 1827." Paris, March 30, 1828, David again writes of Cooper to Victor Pavie:—"Dear friend, in speaking of the sea, I think of 'The Red Rover' of my good friend Cooper. Have you read it? It interests me much." A note adds: "Without doubt the author had presented his new book to the sculptor," who gave to Cooper this bust, modeled in 1826. Mrs. Cooper thought the bust and the Jarvis portrait of her husband were "perfect likenesses." Later on David's genius again found expression in a bronze medallion of his "good friend Cooper." David has given the striking intellectual of Cooper's head of which an authority of that time wrote: "Nature moulded it in majesty, yet denied it not the gentler graces that should ever adorn greatness."