The inn was of wood, a hemlock frame with a "siding" of clapboards. In this there was nothing remarkable, many countries of Europe, even, still building principally of wood. Houses of lath and plaster were quite common, until within a few years, even in large towns. I remember to have seen some of these constructions while in London, in close connection with the justly celebrated Westminster Hall; and of such materials is the much-talked of miniature castle of Horace Walpole, at Strawberry Hill. But the inn of Mooseridge had some pretensions to architecture, besides being three or four times larger than any other house in the place. A piazza it enjoyed, of course; it must be a pitiful village inn that does not; and building, accessories and all, rejoiced in several coats of a spurious white lead. The columns of this piazza, as well as the clapboards of the house itself, however, exhibited the proofs of the danger of abandoning your true whittler to his own instincts. Spread-eagles, five-points, American flags, huzzas for Polk! the initials of names, and names at full length, with various other similar conceits, records, and ebullitions of patriotic or party-otic feelings, were scattered up and down with an affluence that said volumes in favor of the mint in which they had been coined. But the most remarkable memorial of the industry of the guests was to be found on one of the columns; and it was one at a corner, too, and consequently of double importance to the superstructure—unless, indeed, the house were built on that well-known principle of American architecture of the last century, which made the architrave uphold the pillar, instead of the pillar the architrave. The column in question was of white pine, as usual—though latterly, in brick edifices, bricks and stucco are much resorted to—and, at a convenient height for the whittlers, it was literally cut two-thirds in two. The gash was very neatly made—that much must be said for it—indicating skill and attention; and the surfaces of the wound were smoothed in a manner to prove that appearances were not neglected.
"Vat do das?" I asked of the landlord, pointing to this gaping wound in the main column of his piazza.
"That! Oh! That's only the whittlers," answered the host, with a good-natured smile.
Assuredly the Americans are the best-natured people on earth! Here was a man whose house was nearly tumbling down about his ears—always bating the principle in architecture just named—and he could smile as Nero may be supposed to have done when fiddling over the conflagration of Rome.
"But vhy might de vhittler vhittle down your house?"
"Oh! this is a free country, you know, and folks do pretty much as they like in it," returned the still smiling host. "I let 'em cut away as long as I dared, but it was high time to get out 'whittling-pieces,' I believe you must own. It's best always to keep a ruff (roof) over a man's head, to be ready for bad weather. A week longer would have had the column in two."
"Vell, I dinks I might not bear dat! Vhat ist mein house ist mein house, ant dey shall not so moch vittles."
"By letting 'em so much vittles there, they so much vittles in the kitchen; so you see there is policy in having your underpinnin' knocked away sometimes, if it's done by the right sort of folks."
"You're a stranger in these parts, friend?" observed Hubbard, complacently, for by this time his "whittling-piece" was reduced to a shape, and he could go on reducing it, according to some law of the art of whittling with which I am not acquainted. "We are not so particular in such matters as in some of your countries in the old world."
"Ja—das I can see. But does not woot ant column cost money in America, someding?"