Seasoning of Wood, Joseph Bernard Wagner [best beach reads txt] 📗

In the wood of many broad-leaved trees the wood fibres are much longer when full grown than when they are first formed in the cambium or growing zone. This causes the tips of each fibre to crowd in between the fibres above and below, and leads to an irregular interlacement of these fibres, which adds to the toughness, but reduces the cleavability of the wood. At the juncture of the limb and stem the fibres on the upper and lower sides of the limb behave differently. On the lower side they run from the stem into the limb, forming an uninterrupted strand or tissue and a perfect union. On the upper side the fibres bend aside, are not continuous into the limb, and hence the connection is not perfect (see Fig. 18). Owing to this arrangement of the fibres, the cleft made in splitting never runs into the knot if started on the side above the limb, but is apt to enter the knot if started below, a fact well understood in woodcraft. When limbs die, decay, and break off, the remaining stubs are surrounded, and may finally be covered by the growth of the trunk and thus give rise to the annoying "dead" or "loose" knots.

Fig. 18. Section of Wood showing Position of the Grain at Base of a Limb. P, pith of both stem and limb; 1-7, seven yearly layers of wood; a, b, knot or basal part of a limb which lived for four years, then died and broke off near the stem, leaving the part to the left of a, b, a "sound" knot, the part to the right a "dead" knot, which would soon be entirely covered by the growing stem.

Color, like structure, lends beauty to the wood, aids in its identification, and is of great value in the determination of its quality. If we consider only the heartwood, the black color of the persimmon, the dark brown of the walnut, the light brown of the white oaks, the reddish brown of the red oaks, the yellowish white of the tulip and poplars, the brownish red of the redwood and cedars, the yellow of the papaw and sumac, are all reliable marks of distinction and color. Together with luster and weight, they are only too often the only features depended upon in practice. Newly formed wood, like that of the outer few rings, has but little color. The sapwood generally is light, and the wood of trees which form no heartwood changes but little, except when stained by forerunners of disease.

The different tints of colors, whether the brown of oak, the orange brown of pine, the blackish tint of walnut, or the reddish cast of cedar, are due to pigments, while the deeper shade of the summer-wood bands in pine, cedar, oak, or walnut is due to the fact that the wood being denser, more of the colored wood substance occurs on a given space, i.e., there is more colored matter per square inch. Wood is translucent, a thin disk of pine permitting light to pass through quite freely. This translucency affects the luster and brightness of lumber.

When lumber is attacked by fungi, it becomes more opaque, loses its brightness, and in practice is designated "dead," in distinction to "live" or bright timber. Exposure to air darkens all wood; direct sunlight and occasional moistening hasten this change, and cause it to penetrate deeper. Prolonged immersion has the same effect, pine wood becoming a dark gray, while oak changes to a blackish brown.

Odor, like color, depends on chemical compounds, forming no part of the wood substance itself. Exposure to weather reduces and often changes the odor, but a piece of long-leaf pine, cedar, or camphor wood exhales apparently as much odor as ever when a new surface is exposed. Heartwood is more odoriferous than sapwood. Many kinds of wood are distinguished by strong and peculiar odors. This is especially the case with camphor, cedar, pine, oak, and mahogany, and the list would comprise every kind of wood in use were our sense of smell developed in keeping with its importance.

Decomposition is usually accompanied by pronounced odors. Decaying poplar emits a disagreeable odor, while red oak often becomes fragrant, its smell resembling that of heliotrope.

A small cross-section of wood (as in Fig. 19) dropped into water sinks, showing that the substance of which wood fibre or wood is built up is heavier than water. By immersing the wood successively in heavier liquids, until we find a liquid in which it does not sink, and comparing the weight of the same with water, we find that wood substance is about 1.6 times as heavy as water, and that this is as true of poplar as of oak or pine.