one of the sure evidences of man's innate perversity that he persists
in trying to copy certain beautiful lines and shadings in wood, not as
an art study, but for actual use, when he may just as well have the
perfect original as his own faulty imitation. What conceit, what
blindness, what impudence, this reveals! What downright falsehood! Not
in the painter,--O, no, skill is commendable even when unworthily
employed,--but in him who orders it. You may buy a pine door, which is
very well; pine doors are good; you tell every man that comes into
your house it's black-walnut or oak or mahogany. If that isn't
greeting him with lying lips and a deceitful heart, the moral law
isn't as clear as it ought to be. You may think it's of no
consequence, certainly not worth making a fuss about, but I tell you
this spirit of sham that pervades our whole social structure, that
more and more obtrudes itself in every department of life, comes from
the bottomless pit, and will carry us all thither, unless we resist
it, even in these milder manifestations, as we would resist the Father
of Lies himself. Truth and falsehood are getting so hopelessly
confused that we can scarcely distinguish one from the other.

One other suggestion in this connection. Without either painting or
graining you may get a most satisfactory effect, both in looks and
utility, by staining the less costly kinds of woods; using a
transparent stain that will not conceal but strengthen the natural
shading, and at the same time change its tint according to your fancy.
This is an honest and economical expedient. It only requires that your
lumber shall be sound, tolerably clear,--a good hard knot isn't
alarming,--seasoned, and put up with care. The cost is less than
common painting, and the effect as much better than graining as
nature's work is more perfect than ours.