Everyone will be familiar with the beautiful poplar trees that make valleys in Burgundy and elsewhere so charming to the eye. Poplar produces straight-grained timber of prodigious length. The wood is soft and easy to cut, and it holds nails very well. It resists splitting firmly because is has an interwoven grain, so it is tricky to plane well; better to use a power plane. But poplar is in any case best kept for rough work.
It has two big disadvantages; it can to warp severely as it dries, so great care must be taken in stacking; and insects just love it. Poplar should never be used unless it is treated or painted, or else the woodworm will have a field day. However, it is reasonably resistant to rot, and as long as it is used with care, is a useful timber. It is cheap and plentiful, light and easy to handle.
Unfortunately, poplar is usually grown individually, in long thin avenues, or as windbreaks along the edges of fields, and more rarely in plantations. Its presence in the beautiful valleys of central France is a great asset visually. However, this causes a problem when it is cut for timber.
Wood is, along with stone and earth, one of the principal materials used in the construction of buildings, and particularly older buildings. The principal varieties used are oak, poplar and beech, known as hardwood in UK. Spruces and pines(softwood in UK) are also much used, especially in new-build. It is important to have some understanding of the nature of wood, its uses in the older house and some sympathy for its virtues as well as its limitations.
Wood is used in a wide variety of applications, and the most important of these are the support structure for floors; the roof timbers and associated work; and the interior finishing timber. Timber is also used in the construction of interior walls and in many areas in the construction of supporting walls.
There are three timbers commonly found in older buildings in France, namely oak, poplar and pine. Other timbers are often found as parts of outhouses and sheds.
Some of these are specialised, and can be expensive, but even after just one set of pegs, you’ll be ahead, and believe me, then you’ll want to do more.
One of the most common problems with old violins is that the pegs are poorly fitted, are not a match to the violin or are just plain old worn out. A fiddle that won’t tune because the pegs jam or slip is a curse. Fitting new pegs is not difficult to do.
Penetrating damp is the result of water coming through the walls.
Once you’re sure no water is coming through the roof by following the previous articles in this category—and the saving grace of that kind of leak is that it is very obvious and marks its presence clearly—the next issue is this one. Here’s an excellent overview of the problem.
I’ll take time for another of my provocative asides here. I’m pretty convinced—actually I am totally convinced—that there is no significant problem of rising damp in most traditionally built houses, at least as long as they have been left that way. Note that last bit. I’ll come back to this later.
Meantime, if we discount the possibility of rising damp in most cases, we must look elsewhere for the source of water and there are two issues to address here.
Damp in your old house and how to deal with it. Part Two in a series explaining where damp in old buildings comes from and what you can do to combat it. Most of the advice is applicable anywhere.
Before worrying about how to get rid of dampness that is already in the house, it makes sense to make sure no more can get it first. There are a number of important areas where unwanted moisture can make it into your house. The roof is the easiest to deal with so we’ll tackle it first.
A good many incomers to France have no idea where to go to get the materials for their DIY restoration of an old French house. I have even heard of British second-homers filling the car boot with bags of cement and bringing it with them, which is laughable. This article is intended to help.
I have one fiddle that is over two hundred years old, which I found in bits, with all her varnish stripped. She would surely be worth more financially if I had had a restorer fix her, but I did it myself, she sounds and plays wonderfully, and I get a real kick out of the fact that I saved her myself. Because, believe me, she was kindling-wood before.
That brings me to an important point. There is one rule which you should bear in mind whenever you touch an instrument with a mind to fixin’ her.