From Crackle To Cyprus
CRACKLE OR CRACKLY. A modern machine-made net or mesh to lace or veiling resembling the crackle in the glaze of old pottery. CREPE. A thin crimped stuff of warp silk gummed on the mill.
CREPE DE CHINE. An exquisitely soft and drapy form of crepe; plain, figured or printed.
CRETE. Lace of loose bobbin variety made in Candia or Crete. Designs generally geometrical, ground colored silk or flax with a colored chain-stitch, along the edge, giving a urocnet gay effect. In the upholstery trade to-day the term Crete applies to a light-weight curtain material.
CRETE. The term Crete is often applied to lace similar to Cyprus lace, sometimes called Roman, sometimes Greek lace.
CREVA. Drawn-work, as made in Brazil by the negroes. It is evidently a rough copy of Italian drawn.
CROCHET. Crochet lace introduced in Ireland about 1820. It is distinguished by crochet stitch, usually imitating modern reticellas and Venetian point. It is wrought with a hooked needle and is sometimes called "nun's work." The name is derived from the French "crochet," crock, and the old Danish "krooke," or hook. The distinguishing mark of Irish crochet which has never been imitated is the fine crochet stitch followed by every thread of the work. Sometimes the crochet is called raised Rose point or Point de Trico or Honiton crochet to indicate the character of the design more than the technique. The flat variety, however is better known to-day as baby Irish, as distinguished from the raised or heavy variety. The manufacture of Irish crochet, however, is not confined entirely to Ireland. The Syrians in this country and the peasants of Italy, Austria, Germany, Turkey and France are all at work upon the same sort of lace. In Ireland, where by far the best crochet is made, the work is now a national industry with its main centers at Cork and Monaghan. At one time there were no less than 12,000 women in the neighborhood of Cork alone engaged in the making of crochet collars and cuffs and yard laces after Spanish and Venetian patterns. In Austria the government has established lace-making as a national industry, 60,000 peasant workers being engaged under royal auspices. The Austrian crochet work follows strictly the Irish examples. A hand-made gown of Irish crochet passes before it is finally completed through as many as a hundred different hands, and includes in its makeup a great variety of motifs designed especially for the garment. These motifs are made by different individuals, assembled and put together at some center with racord stitches. These racord stitches are of several designs, coming in the French, English, Irish and large open-mesh patterns. Irish crochet is difficult to imitate. Under a glass and frequently to the naked eye the deception is perfectly clear. The stitch of the crochet is purely a crochet stitch or button-hole stitch while the imitations aim at the effect with a perfectly straight over-and-over stitch. Recently some imitations have been produced which simulate crochet effect, and a great many crochet laces are on the market which a child may be taught to accomplish but which can not be regarded as Irish crochet. Some of the factory crochet reproductions are very clever, but the difference between the Irish crochet and the rest lies in the finish and latterly even this is being closely imitated. We may say, however, that the real Irish crochet is characterized by its linen character as distinguished from cotton reproductions of the imitation, The cut-out mesh before edge Needle-point edging to a cut-out is finished. and by the stiff or starchy closeness of the feel as distinguished from the puffiness or softness of the imitation. Crochet laces are also known as Oyah. It is the guipure lace or openwork embroidery made by means of a hook in a fashion like crochet. It is sometimes elaborate and in silks of many colors showing foliage and flowers in relief. Point de Turque is a term sometimes used for Oyah lace. Spanish guipure is also classed as crochet but it is a misnomer because the real Spanish guipure was of the Fifteenth Century and followed the Reticella models.
CURRAGH. Another name for Irish Point. Owing to the fact that many of the needle-point laces of Ireland are produced at Curragh schools, the term Curragh is often applied indiscriminately to Irish laces.
CUT-WORK. Cut-work had great vogue during 1400. It was known in the earliest stages of lace-making. One can readily understand that the earliest endeavor at lace-making began with the drawing of threads. Then the dividing of the threads into strands, then working them into patterns or over-stitching them or darning, or what we to-day call hemstitching. It was a logical step from this form of work to the cutting away of some of the threads. Little by little as the cutwork came more into vogue and the designs more and more complex, an effort was made to produce these open-work patterns in a more direct manner and as a result we have Reticella, which was the very beginning of needle-point lace. The first examples of cut-work were doubtless used only for ecclesiastical purposes, and until the dissolution of the monasteries it was regarded as a church secret. Indeed, as early as 1400 Nun's Work was a term applied generally to cut-work in Great Britain.
CYPRUS. Lace highly thought of in the Middle Ages, formerly made of gold and silver, manufacture now extinct. Peasants make a coarse thread lace.