How to Begin Tatting: 7 Steps (with Pictures) - wikiHow How to Begin Tatting Community Q&A Tatting is an old craft used to make a type of lace. Tatting has experienced numerous periods of popularity, including during Victorian times and the 1950s and 60s. The English name of tatting is said to be derived from "tatters" and to denote the frail disconnected character of the fabric. [1] In recent years, it has been revived again with great enthusiasm. Tatting can be a very fulfilling hobby - it is easy to learn (contrary to how you might feel when viewing the incredible complexity of designs that result from tatting projects) and there are a vast array of projects available to the avid tatter. Tatting designs are elegant, dainty and useful in one - tatting projects include doilies, runners, collars, table covers, handkerchiefs, pillow edgings and more. If you're just starting out with tatting, this article aims to provide the basic overview before embarking on a project. Steps 1 Familiarize yourself with the threads used for tatting. Suitable threads include crochet cotton and mercerized cotton.

DMC is one popular brand known for its tatting threads. Threads can be purchased online as well as in craft stores. (NOTE: When teaching someone to tat, I accidentally found if you use two colors of thread, one in the bobbin and another for the ball, you can quickly see if an error has been made. When done correctly, the work should all be one color. If you see two colors, you know somethings was done wrong.) 2 Obtain some tatting shuttles. Old shuttles used to be made of bone, tortoiseshell, Bakelite or steel. Modern shuttles are made from plastic. You may be able to collect older versions, although obtaining tortoiseshell shuttles can be difficult due to endangered species regulations. Start with modern ones and if you get a passion for tatting, you might even discover a passion for collecting old shuttles for display! 3 Learn how to wind the shuttle. Wind the thread around the bobbin that is situated in the center of the shuttle. If there is a hole in the center of the shuttle, insert the thread through the hole and tie a knot before commencing your project. Note that in some instances, the bobbin is removable.

Do not wind the thread beyond the edge of the shuttle. 4 Practice using the shuttle . This is explained in illustrated detail at Use a Tatting Shuttle . A brief outline is provided here for the sake of completeness. Take a shuttle with a pointed end and 2 balls of mercerized cotton. Wind as described above. Take the shuttle in the right hand, between the thumb and second finger, and allow the forefinger to remain at liberty. Rest the underside of the shuttle between the second and third and on the middle finger. Place the thread round the three middle fingers of the left hand, so as to form a loop, keeping the second and third fingers a little apart, and bring the cotton again between the thumb and forefinger, letting the end fall within the palm of the hand, while the end of cotton which holds on to the shuttle passes over the thumb-nail. 5 Try a variety of tatting stitches. Once you have familiarized yourself with the above information, commence with the basic stitches, such as double stitch , rings , chains etc. This will get you used to how tatting feels and establish your own manner before you embark on projects. 6 Understand how to use reverse work.

In tatting you will notice that the rounded end of the loop on which you are working faces the top. However, you can produce an interesting effect by turning your work first up and then down. The directions will say "rw" (reverse work). To do this, once you have worked a ring, turn it so that the base of the ring faces the top and the new ring is worked as usual with the loop side up. 7 Start your first tatting project. Start with edgings and insertions first. Check out wikiHow's Tatting category for many ideas. Community Q&A Is it possible to tat without the shuttle? wikiHow Contributor Yes, an alternative would be using a long, thin metal needle that you would wrap the thread around. How does a left-handed person learn use the shuttle? wikiHow Contributor The same as a right-handed person -- by facing someone and watch them do it as they teach. If this question (or a similar one) is answered twice in this section, please click here to let us know. Tips If you use two colors of thread, one in the bobbin and another for the ball, you can quickly see if an error has been made. When done correctly, the work should all be one color.

If you see two colors, you know somethings was done wrong. If collecting old tatting shuttles is a passion with you, note that some were made from ivory and tortoiseshell. When you collect these, ensure that they are vintage and obtain them legally from antique specialists only. Do not purchase new ivory or tortoiseshell, as this breaches the laws on protecting endangered species and encourages illegal poaching of disappearing species. Other older forms of shuttles include bone, mother-of-pearl or even wood with inlaid designs. Collecting shuttles can be an enjoyable pastime for the vintage sewing enthusiast. Tatting differs entirely from crochet, and is composed of stitches forming knots. It is intended to be an imitation of point lace, and it is often used for trimming under linen, on account of its strength. Note that "purl" is sometimes the term used to refer to a Josephine picot or knot. In many Victorian-era patterns, it is used to indicate a picot. Learn the relevant tatting abbreviations: r - ring Tatting Lace 101 - Let's learn how to tat! Tatting Lace 101 Let's start tatting!

I actually started tatting when my sister Ena started, and I love it! It's not as hard as it seems to be. Once you get a hang of it you can start doing it anywhere! I will try to be as detailed as possible, but you anything is confusing please email me at atelierdehappa@yahoo.com To make it easier to see I used Olympus EmmyGrande Colors but I usually use Olympus Gold Label #40 to work on my projects. Winding thread to shuttle . Insert thread throught the small whole in a shuttle of your choice, and tie a knot like shown. How it's done is not very important since all it's purpose is to hold the thread in place. Just make sure you are able to undo the knot later. Wind evenly on the shuttle. If you have a shuttle with a pointy end, the pointy end will be at the top left. Make sure you stop before it goes over the shuttle. If you can see the thread from the sides, you wound it too much. You don't want the threads to get dirty while working on your project. Hold thread between your left thumb and index finger and shuttle on your right hand Note HOW the thread is coming out from the shuttle too.

Wind the thread around other three fingers from the middle finger to the pinky. Note how the shuttle is held on the picture. If your shuttle has a pointy side, make sure it is placed on top (where index finger is on the picture) Twist your right hand clockwise so that thread from the shuttle will be stretched across your right pinky to your middle finger. and the shuttle comes under the thread like shown in the picture. Pass the shuttle through the ring you made with your left hand. <let top thread (of the ring) pass through your right index finger and shuttle. > then let the thread pass through between your right thumb and the shuttle.<Meaning the shuttle will pass through the ring then on top of the ring you made with your left hand> *Picture of shuttle passing on top of the "ring" End result should look like this Now you have to pull the shuttle with your right hand until the knot will look like the picture. MAKE SURE you don't let your left hand loose. Slide the knot or "half stitch" to your left thumb and index finger. Now onto the second half stitch Grab the thread from the shuttle with your right ring finger. Then basically you will do reverse of when you made the first half stitch.

you will pass the shuttle starting on top of the "ring then through the center of the "ring.. The top thread of the ring should pass and touch your right thumb then your right index finger. Once you pass the shuttle through and let go of your right ring finger, it should look like this. Like earlier, pull your shuttle so the "stitch" will look like this When you push the second half of stitch to the first one you created, there is your double stitch. If you can't the stitch doesn't slide when you pull on the thread that is connected to the shuttle and make your "ring" smaller, you are doing something wrong. *Try not to make the stitches too tight. It should be snug, not tight. Making picot is actually easy. All you have to do is leaving some space between the double stitches and when you slide the second stitch, it will create the picot. First double stitch, picot then the second double stitch.. Making picot When the ring you are working with is getting too small, you can make it bigger by pulling the "bottom" part of the ring. Make sure you hold whatever you just worked on especially the top to not let the stitches get too tight.

If it doesn't slide at all... you might have done something wrong somewhere. When the "ring" gets too small When you are done with one pattern of ring, all you have to do is pull on the thread that is attached to the shuttle. Make sure you hold what you have worked on. What you are basically doing is the reverse of "when the ring get too small" *Picture of ring getting smaller At the end it should look like this. When done with making a ring Making a chain is basically the same process as making a ring. The only difference is that you will be wrapping the thread that is not connected to the shuttle you will be working with around the left pinky. (as it is shown with white thread to make it more obvious) Then it is the same process as ring. First half stitch then second half. After working some patterns, it will look like this. Extra note: When making a ring, the thread from the shuttle becomes the "main"thread that shows, but when making a chain, the thread on the shuttle becomes the core, and the thread that's not the shuttle (white thread) becomes main How to make a chain Reverse work refers to when chain is connected right after ring or vice versa.

All you have to do is flip whichever you were working on first (in this case Ring) and start working Reverse work When connecting ring to ring using picot, you pull the top part of the ring not the thread that is connected to the shuttle, through the picot hole. How you pull the thread is important too. Make sure you don't twist the thread you are pulling.. Shuttle will be inserted the way the arrow is directing. If you have a pointy shuttle and have big enough picot, you can use the pointy side instead of using crochet hook. After passing the shuttle through, it should look like this Stretch the ring part back to pull the thread that you pulled through picot.and slide the stitch down until it will look like the picture shown. From there you will start the double stitch. Remember this whole process will count like a picot in the pattern. End result Connecting Ring and Ring When you are done, cut whatever it is attached (usually shuttle and a ball) Then you will have 2 loose threads right next to each other. (shown in different color in this picture.) Tie a double knot. as close as you can. You will take a needle and saw each thread where they are naturally directed.

Rule of the thumb is, pick sides that have more double stitches to picot. In this case both ring sides. You will always saw in BETWEEN double stitches not in the middle. It will come out from the middle of the double stitch, but you will insert the needle between 2 double stitches. Try to saw at least 5 stitches, but don't pass the picot. If you hit have many double stitches, then simply go backwards once you hit picot. When done, carefully cut the thread as close as you can. Be really careful not to cut your project! Side note: If you feel this is too much work, you can tie the knot, cut the excess thread and glue the knot. BUT it would look a bit ugly. What to do with those two threads when you are done Tutorial and pattern: Needle tatting 101 | seesawyer Tutorial and pattern: Needle tatting 101 8 Replies Easy tatted headband This post will be a hybrid pattern and tutorial designed to teach the basics of needle tatting. The pattern is for a decorative headband made of embroidery floss. If you are not a headbands kind of person, you can make a bookmark or similar instead.

If you are a shuttle tatter not interested in needle tatting, the pattern should still work for you. Difficulty: this post is designed to be the very basic level of tatting, but tatting is in my opinion somewhat inherently difficult to get the hang of (although very easy once you have). If you are a fiber crafter already who knows crochet or knitting or sewing or something similar, you should be fine; if you were ever any good at making those friendship bracelets that many camps teach, you will be fine; if you are just starting to dabble in fiber arts, you may want to start with something easier–crochet is, in my opinion, a great place to start. You will need: 4 skeins of embroidery floss (2 would be plenty for a bookmark). Embroidery floss is very low-investment and comes in a huge range of colors; as you embark on larger projects you may prefer to use crochet threads, which come in a range of sizes, colors, and fiber contents. All four skeins of floss will show in your headband (see the four shades of blue above), so pick colors that go well together. 4 embroidery floss cards/spools/bobbins.

These often come with variety packs of floss; if you don’t have any, you can use empty thread spools or bobbins, or make your own out of cardstock–cut out a 1″x2″ or so square, and cut slits in one end that will grip the floss. The goal is just to have the unused floss neatly wound out of the way. Tatting needles, sizes #5 and #3 (the #3 is not needed for a bookmark). I recommend getting a variety pack from your favorite craft store, or look for a pack like this online. If you have a small (size E or smaller) crochet hook, you may want to have it handy, but it is not required. If you have tiny hair clips , alligator clips, or something similar that is 3/8″ to 1/2″ wide, this may help, but you don’t need it. Setup: Decide what order you want your skeins of floss in; number them from 1 towards the front of your head to 4 towards the back. Take skeins 1 and 2 and unravel them–do this on a large flat surface so you don’t end up hopelessly tangled.

Find the midpoints of both skeins and tie them together, doing your best to place the knot at the midpoint. I use a single overhand knot, holding both threads together. Wind both threads on one side of the knot onto a spool. On the other side of the knot, wind floss 1 onto another spool, starting from the end and winding towards the knot. Thread floss 2 onto your #5 needle and pull through a long tail–it’s easiest to manage the thread if the tail is almost half of the thread. In common tatting parlance, floss 1 is now your “ball thread” or “spool thread” and floss 2 is your “needle thread” or “working thread”. Some basic theory/overview on tatting: At the large scale, almost all tatting patterns are composed of “rings” and “chains”, with some additional design elements like cluny leaves, Josephine knots, etc. at higher levels. Rings and chains are exactly what it says on the tin: rings are circle-ish shapes, where the thread enters and exits at the same point on the ring, and chains are lines/arcs that move the thread from point to point.

So, virtually any design that you can draw on a piece of paper, without picking up your pen, and without crossing too many times (okay to make loops, not okay to make nested loops), you can make in tatting. Tatted rings and chains are composed of repetitions of just one simple stitch, the double stitch or “ds”, which wraps one thread around another core thread. Some decoration and structure can be added using picots and joins; picots are simply loops of thread that poke out from the row of stitches, and joins let you attach a ring or chain to a picot that you made earlier. I use picots almost exclusively for joining, but there are lots of beautiful patterns available using picots of difference lengths or with beads attached for decoration. One goal to strive for when learning tatting is to make all your picots the same size; this takes a lot of practice (or using gauge tools). Steps: First ring Step 2: making the first half-hitch Hold your needle in your right hand. Hold the knot against the side of the needle with one finger, just to keep track of it.

Hold your working thread in your left hand, about 6″ from the knot, with the knot end held between your thumb and middle finger and the trailing end (towards the needle) running through your pinky finger; keep your first finger free. Bring your first finger behind the working thread between your hand and the knot and up, bending the working thread(see photos). Bring the needle in front of the front strand of the thread, under it, and up between the two halves of the working thread. Slide your finger out of the working thread and pull with your left hand to slide the stitch just formed down the needle until it reaches the knot; pull snug. This should form a half-hitch, with the working thread caught behind a loop of thread that goes over the needle. This is your first single stitch. Hold it in place with the first finger of your right hand against the needle. Reverse the process: bring your first finger from in front of the working thread and bend it backwards. Bring the needle behind the back strand of the working thread, under, and up between the two halves of the thread. Remove your finger and pull the second stitch down snug against the first one.

In knot terminology, this is a second half-hitch with the opposite handedness of the first one, making what you’ve made so far a cow hitch around the needle. In tatting terms, this is a double stitch, or “ds” in pattern shorthand. Making the picot with or without aid Repeat steps 2 and 3 seven more times each, for a total of 8 ds on the needle (total of 16 single stitches). Time for your first picot–a picot, on the needle, is just a gap between stitches. Make your first single stitch, as in step 2, but don’t pull it snug against the previous stitch; use the first finger of your right hand to enforce a space of 3/8″ to 1/2″ between the two stitches. If you have a 3/8″ hair clip or similar, you can use it to enforce the gap, sliding it onto the needle before making the stitch and holding it teeth-side down (see photo) and then pulling the stitch snug against it. Leave it in place until you’ve made a couple more stitches to lock the picot in place, but make sure you can remove it by unclipping, i.e.

without sliding any stitches off the needle. Finish the ds by making a single stitch as in step 3, then make 7 more ds. Closing the picot and finishing the ring Gripping the last few stitches you made in your left hand, slide the new 8ds along the needle until they are next tothe first 8ds; the thread making the picot should fold up into a loop that sticks out from the stitches. Continue to slide all the stitches along the needle towards the eye, being careful to keep all the stitches together. Gently slide the stitches off the needle onto the needle thread and pull the needle thread through until it naturally pulls the stitches into a loop with the picot and the bumpy parts of the stitches on the outside. Keep other threads, such asthe ball thread and the needle thread that you’ve already pulled through, out of the way in front of the closing loop. You have now made your first tatted ring. Because there are 8 double stitches on each side of a picot, this would be noted in a pattern as: “Ring: 8ds, picot, 8ds”, or “Ring 8-8” or “R8p8” depending on how terse the notation is.

Steps: Finish the motif Making the chain Turn the work so that the ring you just made is pointing up and the ball thread is pointing down, and again hold the starting knot against the needle with your right hand. Hold the ball thread in your left hand like you held the working thread before. With the ball thread, make 16 double stitches all in a row. Slide these stitches onto the needle thread and pull it through; this time it won’t close into a ring, but it will form a natural curve with the bumpy side of the stitches on the outside. This is your first chain, and would be noted in a pattern as “Chain: 16ds” or “Chain 16” or “C16”. Turn the work again so the ring is pointing down; hold the end of the chain you just made against the needle such that the ball thread is above the working thread, and hold the working thread in your left hand as for the previous ring. Make 8 double stitches.

Making the join Time to join the rings together: pull the first ring down and around so that the picot is just at the tip of the needle, and slide the stitches you’ve made forward on the needle so there’s only about 1/4″ of the tip of the needle before the stitches. Hold the working thread in front of the first ring. Pass the tip of the needle through the picot from back to front, right to left. Make a first single stitch and pull it snug against the previous stitches, with the picot still on the needle. With your fingernails or a small crochet hook, pull the picot up and over the stitch you just made and off the needle, without removing the stitch. This is way tricky to get the hang of; slide the stitches closer or farther from the needle tip as needed to make it easier. If you are having too much difficulty making joins, use a small crochet hook to pull a loop of thread through the picot, from front to back, and form this loop onto a stitch on the needle, instead of the whole inserting the needle through the picot procedure.

Make the second single stitch and then another 7 double stitches, for a total of 16 ds on the needle, half of one of which is involved in the join. Slide the stitches onto the needle thread as before and pull into a ring. This is a “Ring: 8ds, join (to picot of previous ring), 8ds” or “R8j8”. The two rings should be the same size, and firmly connected at their centers via the picot/join. Steps: Shrinking motifs Repeat all the steps above, but removing one ds from each group of 8. In other words, Ring: 7ds, picot, 7ds. Chain 14ds. Ring 7ds, join, 7ds. Call this a “7-motif”, where the first ring-chain-ring motif you did was an “8-motif”. Make another 7-motif: Ring 7ds, picot, 7ds; chain 14ds; ring 7ds, join, 7ds.

Make two 6-motifs: (Ring 6ds, picot, 6ds; chain 12ds; ring 6ds, join, 6ds)*2. Make two 5-motifs: (Ring 5ds, picot, 5ds; chain 10ds; ring 5ds, join, 5ds)*2. Make two 4-motifs, or as many as you have thread for, leaving at least 8″ of floss 2 for the tie. Chain 6ds, and leave the loose ends hanging for now. If you want to make a bookmark, go back to the starting knot and thread floss 2 on your needle. Chain 16ds with floss 1, pull tight, and make another knot if you like for symmetry. Skip to step 3 below, using floss 1 for floss 4 and floss 2 for floss 3, and after step 6 below tie all four thread ends together, trim the loose threads and you are done!

Steps: The rest of the lace Repeat all above steps on the other side of the starting knot: with floss 2 threaded on the needle and floss 1 on the spool, make one 8-motif, two 7-motifs, two 6-motifs, two 5-motifs, and two 4-motifs (or as many as you made on the other side), and finishing with a chain of 6ds. Unwind floss 3 and 4 and set up as you did to start; floss 4 will be your ball thread and floss 3 will be your working thread. With your working thread, start a ring with 8ds. Lining up the finished (floss 1&2) piece and the new work such that the knots are parallel, join this ring into the picot of an 8-motif (one that you have already used to join). You may wish to use your needle or crochet hook to make the picot more accessible–simply insert the needle into the picot, and pull the outer side of the picot out away from the motif, sliding the ring that’s already joined there up against the other one.

Be careful not to twist things–when you have made the join it should lie flat. Finish the ring with 8ds, pull off the needle and tighten. Chain 15ds and ring 8ds, join into the same picot you just joined into, 8ds to finish a modified 8-motif joined to the other piece. Note that the chain is one ds shorter than it was on the other side; this is on purpose to accommodate the shape of the head. If you are making a bookmark, chain 16ds instead, and make all your motifs with the same number of stitches as before. Continue with two modified 7-motifs, joined to the 7-motifs in the first piece: (ring 7ds, join, 7ds; chain 13ds; ring 7ds, join, 7ds) twice. Continue with two modified 6-motifs, two modified 5-motifs, and two modified 4-motifs (or as many as you made before). The chains should be 11ds, 9ds, and 7ds respectively. Finish with a chain of 6ds.

Repeat with floss 3&4 on the other side of the knot. One end of a headband showing tapering size, groups of four rings joined on the same picot Steps: Finishing the headband with a tie end On one end of the headband, tie the ends of floss 2 and 3 together–a square knot is good. Get out your #3 needle and thread both ends together onto the needle. Working with both floss 1 and floss 4 as ball thread, alternate 1ds of floss 1 with 1ds of floss 4, rolling the needle 180 degrees between colors. You want the floss 1 bumpy part of the stitch to be across the needle from the floss 4 bumpy part, but be careful not to wrap the floss around the needle between stitches–roll the needle back and forth, not around and around and around. This is a little tricky to get the hang of; the goal is a flat band that doesn’t curve because it has an equal number of stitches on either side of the needle.

It will have a zigzag pattern, with a raised ridge of floss 1 on one side and a raised ridge of floss 4 on the other. Continue with this alternating stitch until you are out of either floss 1 or 4, sliding the stitches gradually down the needle (and off it onto threads 2&3 as necessary) as you go. Pull the needle the rest of the way through, pull the stitches snug but not really tight, and hold all four threads together and tie an overhand knot in them. Trim the ends. Repeat on the other side of the headband. Closeup of tie end stitches: red is floss 1, green is floss 4. Wear as a headband by tying around your head, with the starting knots centered up top. One downside of the embroidery floss is it’s pretty slick, so you may need to hold it in place with bobby pins. If you have followed along through this whole post, you have everything you need to go forth and tat most patterns. If anything is baffling, please let me know in the comments and I will do my best to correct it.

Share this: Civil War Tatting by Virgina Mescher Civil War Tatting by Virgina Mescher Photo caption This article is reprinted from The Citizens' Companion Feb-Mar 2001, Vol. VII - No. 6 with the kind permission of the author and the editor. Many thanks to both Virginia Mescher and The Citizens' Companion for sharing with the online tatting class. (I have added a few photos of period lace pieces and patterns. - AKTATTER) Tatting, or at least the forerunner of what we know today by that name, was first developed in Europe and in its early stages was called knotting (a series of knots sewn onto a base which created a design). It is only one form of knotting, with macrame, (developed in ancient Egypt), an unnamed Chinese method, and a style called purling, mentioned by Chaucer in The Canterbury Tales, being some other types. It is generally thought that, in sixteenth century Italy, knotting progressed from a string of knots to a ring of knots similar to what we now know as tatting. The art traveled to both Germany and France, and then to England, and the Pilgrims brought it to America.

In 1707, a poem, The Royal Knotter, written by Sir Charles Sedley about England�s Queen Mary�s love for knotting, was published, and there were a number of paintings done in the eighteenth century picturing women knotting and holding knotting shuttles. Knotting shuttles were somewhat larger than a tatting shuttle, being about six inches long and one to two inches wide, with open ends, which formed a channel in which to wind the thread. A wider opening allowed for the thicker knotting thread. The origin of the word �tatting� has been debated. Some attribute it to the Scandinavian word �tatters,� meaning small pieces; the Indian word, �tattie,� meaning a �mat;� an Icelandic word taeta, meaning �knot;� the old English word, �tat� meaning to �entangle or weave;� or that when women got together to tat they �tattled� with gossip, but none of the suppositions are conclusive. Even though the word �tatting� did not appear in print until 1843, there is some documentation that tatting was done in the mid- to late-eighteenth century.

According to Mary Konior, in a 1739 edition of a German book there is mention of shuttle lace, which would differentiate it from knotted or bobbin lace. There are some chair covers from 1780 that appear to have tatted trim on them and in 1781 there was a mention of the purchase of small ivory shuttles. Each language developed its own name for tatting and, according to Elviga Nicholls, the word �tatting� first appeared in 1843 in The Ladies� Handbook of MiIlinery, Dressmaking and Tatting. Prior to this date, she found no mention of tatting in any needlcwork book. (I have a comprehensive needlework book published in 1842 and tatting was not included.) The author wrote, "This kind of ornament [tatting] for children�s and other dresses was once in high repute, and again appears likely to become a favorite. It certainly is pretty, and can be laid on the bottom edges of various articles of attire, in an almost infinite variety of forms. It is made by the hand; and the material employed is a [silk or linen] thread or cotton.

The instrument used in making it is called a tatting needle [a shuttle was shown in the engraving] and can be procured at any of the fancy needlework establishments. The annexed engraving shows how the fingers are placed, while the loop is forming: and this, together with the following directions, will, we hope, enable our readers to execute, after a few trials, this very difficult kind of work." An Englishwoman, Mlle. Eleonore Riego de la Branchardiere (more commonly known as Mlle. Riego) was appointed as the Artiste in Needlework to Her Royal Highness, the Princess of Wales. Between 1846 and 1887, she was the author of over one hundred books on crochet, lacework, and tatting. In 1850, she wrote the first of eleven tatting books and completed her last tatting book in 1886. Riego could possibly be called the "mother of modern tatting� since she was such a prolific tatting author and was responsible for various innovations, including the modern chain. She described earlier tatting in her first book as being: "...

of very ancient origin, and one of the many stitches used in Point Lace ... it is worked with a shuttle and pin, forming coarse trimmings, &c., consisting of small pieces worked separately, afterwards tacked on a paper pattern and sewn together with a very fine needle and thread, a process extremely tedious and trying to the eyesight." Until the advent of some of her innovations, tatting consisted of only a series of knots, worked with a single thread with no picots (a small loop enclosed between knots at certain intervals), which were used to create the intricate patterns. After the picot (also known as a loop or pearl) was introduced, they were used to connect the rings (also known as oeillets, ovals, or dots) by sewing the picots together by hand, using a sewing needle and thread. Riego developed the technique of circular motifs that used a center ring, which contained a number of picots, and another round of rings was joined on this center ring at the picots. This innovative motif replaced the previous line of rings that had to be sewn into a circle.

Her designs and methods were well received, and in 1866 she wrote: "The favour with which Tatting in its modern form has been received, has induced me to make still further additions to the Art, and I am pleased to find that instead of its being considered a trifling and rather useless amusement, it has now become a standard branch of needlework." Interest in tatting in the United States seems to have revived by the mid-nineteenth century, and the January, 1856 issue of Peterson's stated that, "For a considerable period the art of tatting, long disused in this country, has been revived in the fashionable world; and like many other things that have disappeared for a time, has acquired greater lustre and beauty than it ever before possessed." The exercise of the art of tatting, as known to our grandmothers, was merely an elegant apology for exhibiting a pretty hand and brilliant rings; the actual production was never more elaborate than a neat, but rather substantial edging for a child�s dress or a lady�s frill...

At the later French Exposition of Industry, however, some very beautiful and elaborate specimens having been exhibited, this kind of work again became the rage, both in France and England; doubtless the elegant pieces of tatting which may be seen in our own exhibition, will tend yet further to keep the work popular. Although tatting techniques, tools and patterns continued to change and improve throughout the nineteenth century and into the twentieth century, there is not space here to include more than a brief mention of developments made in the years after 1865. A few of the later tatting authors were Isabella Beeton (1870), S. E A. Caulfield (1882), Therese de Dillmont (1886), Her Majesty the Queen of Roumania [sic] and Lady Katherine Hoare (1910). Some of these women just included tatting instructions and patterns in their books and others were true pioneers, who introduced new techniques or patterns. There are a number of later period books and magazines listed in the bibliography which contain additional information and later patterns. Tatting Needles and Shuttles: Historic vs.

Modern Within the term "tatting" there are different skills, tools, and products that result. Some are period activities and/or tools and, hence, are appropriate for living history presentations. Others are modern tools and techniques that produce products which are similar in appearance but should not be done in the context of a Civil War living history event. What has introduced an element of confusion is the mention of "tatting needles" in period sources. In recent years, needle tatting has become a popular method of tatting, but, unfortunately, the modern version of needle tatting is not a period method of tatting. "Tatting needles" were mentioned as early as 1843 in The Ladies� Handbook of MiIlinery Dressmaking, and Tatting, in 1850 in The Ladies� Work-Table, and in Riego�sTatting, but on further investigation, pictures of the �tatting needle� show either a tatting shuttle or a double-forked netting needle. Furthermore, the descriptions of tatting needles were nothing like the tatting needle of today.

Modern tatting needles are fairly long and come in a number of different sizes that use different sizes of thread; they also have a long closed eye at one end, whereas a period tatting/netting needle has an open fork at both ends to enable the winding of the thread from end to end. In most publications after 1850, instructions did not specify only using a tatting/netting needle and, if there was a reference to using a tatting needle, the author usually stated that a shuttle was preferable. According to Barbara Foster,of Handy Hands Tatting, the first reference to modern needle tatting was in Modern Priscilla Magazine in April, 1917, but apparently the technique was not widespread until it was reintroduced in late 1970s by Edward and Selma Morin of Portland, Oregon. They popularized this method, which was thought to be a quicker technique to learn than shuttle tatting, with the end product looking the same. Even though both techniques produce look-alike products, they are structurally different.

In shuttle tatting and in the earlier tatting instructions using a tatting/netting needle, the knots are made separately on the foundation thread, and are independent of each other, i.e. when you cut one knot, only that single knot will unravel. Whereas, in modern needle tatting, since the stitches are formed on the needle and not a foundation thread, when one thread is cut, the entire ring or chain will unravel. n Mlle. Riego�s first book, The Tatting Book, written in 1850, she mentioned and illustrated the use of a needle in tatting, but, when one reads further, one learns that her "tatting" needle was actually a netting needle, six to seven inches in length and had an open eye or fork on both ends and the thread (four to five yards) was wound lengthwise around the needle between the arms of the fork, just as it is now done on a shuttle.

In explaining using the netting needle, she wrote, "To obviate the difficulties above mentioned [knotting each join with a sewing thread] I have substituted a netting needle for the shuttle which has enabled me to attach and shape the pattern while working, and where the loops [picots] are too small to admit of the netting needle passing through, I have given directions for using a sewing needle instead.� A netting needle was pictured in the book, but it was difficult to see the thread wound around the needle in the illustrations of tatting positions, and there was no picture of just the needle. In addition to the netting needle, she sometimes called for a sewing needle to be used in conjunction with netting needle. In her later books, there was no further mention of using tatting/netting needles; and there were only instructions for using a shuttle and sewing needles. In the January, 1856 issue of Peterson's, there was a section called �Elementary Instructions in Tatting or Frivolite", that gave the reader excellent instructions for tatting and listed the equipment and type of thread needed.

The article stated, "The only necessary instruments are the shuttle or short netting-needle, and a gilt pin and ring, united by a chain." In Godey's, June, 1857 and in Peterson's, June, 1858 there were identical sections on tatting (both were part of a series titled, "Dictionary of Needlework"), in which both mention the alternate use of a netting needle instead of a shuttle, but there was only an illustration of a shuttle. Also, included later in the "Dictionary of Needlework" series, tatting implements listed were tortoise shell or ivory shuttles or netting needles made of ivory, wood or steel. After Riego�s first book, I could only find specific pictures of netting needles in the netting sections of needlework books, and never in the tatting sections. In Beeton's Book of Needlework, Isabella Beeton described filling the netting needle as one would a tatting shuttle. Mrs. Pullen, in her 1859 book, The Lady's Manual of Fancy-Work addressed the use of a netting needle in tatting. "...

I may observe, that a netting-needle is sometimes used as a substitute for a shuttle. It is very pleasant to work with, but not suitable for carrying in the pocket: and as the convenience of being able to carry it about is one of the chief recommendations of this sort of work, an ivory shuttle ought always to be possessed, although a netting-needle, also, may sometimes be employed." In the same book, Mrs. Pullen, described a netting-needle as "...a bar of steel or ivory, open at both ends, and with a small round hole in which to fasten the end of the thread..." Unfortunately, there were no pictures of netting needles, tatting shuttles, or patterns in the section on tatting. In �The Whole Art of Tatting� (pre-1864) it was suggested that for very fine tatting, it might be more convenient to use a netting-needle, but stressed that a shuttle was usually used. Some other period needlework books also mention using a netting needle, but either they are an almost word for word copy of an earlier publication or suggest using either a shuttle or needle. A last reference to a tatting needle that will be mentioned.

Gone With the Wind. Even though the book is not a sterling example for solid documentation of historical facts, it does contain references to tatting. There is a mention of Melanie using a tatting needle; "She [Melanie] held a line of tatting in her hands and she was driving the shining needle back and forth as furiously as though handling a rapier in a duel." This seems to indicate that she used a netting needle as opposed to a shuttle. Also, from Gone With the Wind [Scarlett was minding the booth at the hospital fair in Atlanta, while in mourning.] "...two old gentlemen bore down on the booth, declaring in loud voices that they wanted ten miles of tatting. Well, after all, old gentlemen are better than no gentlemen at all, thought Scarlett, measuring out the tatting... She had tatted yards of lace.� There was no mention, however, of the tool she used for tatting. A ccording to Pam Palmer in the book Tatting the latest primary reference to a netting needle being used for tatting was in 1867 in instructions for a �Maltese Insertion in Tatting� that appeared in The Ladies� Book of the Month.

The article mentioned using a �fine netting needle� instead of using a shuttle. After that, there seems to be no further mention of netting needles being used in tatting instructions. One advantage of using a shuttle over a tatting/netting needle is the length of the tatted piece possible with one piece of thread: depending on the size of the thread used, a shuttle can hold approximately fifteen yards of thread and a netting needle can only hold about four to five yards. Therefore, by using a shuttle, it is not necessary to connect the tatted pieces as often with weaver�s knots. Since the thread is wound around a netting needle lengthwise, only a limited quantity of thread can be placed on the needle, so connections are more frequent, taking more time and also reducing the strength of the finished piece. After examining the period references, then, it becomes evident that the technique used in modern needle tatting was unknown during the nineteenth century. In doing Civil War period living history interpretation, if your only goal is to use a tatted edging for trimming garments and not to do tatting as a demonstration in a period setting, modern needle tatting, although constructed differently, is acceptable in appearance.

If you plan on actually showing others how tatting was done, only a period style shuttle or a netting needle would be historically accurate. Tatting Techniques, Design Elements and Patterns: Period and Modern In producing a period-looking tatted piece, the technique is as important as the tools. Certain features are characteristic of earlier or later styles. To be historically accurate, the tatter should be aware of the sometimes subtle differences so that the pattern can reflect your time period. Some of the differences are admittedly relatively minor and if you are not a �tatter,� nearly incomprehensible. But if you learn tatting, it is no more difficult to use historically correct techniques and patterns than it is to use modern ones. By knowing the differences, tatters will be assisted in choosing correct patterns. Mlle. Riego�s method for tatting was very similar to our modern tatting, but at first she reversed her �stitches� or knots. Instead of making her double stitch as we do, she made our second stitch, (called the �French stitch�) first and our first stitch (called the English stitch) second, so that her knots, on the front, looked like our knots do on the back.

Picots (sometimes called loops or pearl loops) were made between the first and second stitches of a double stitch, instead of between two double stitches, as we do today. Most other period tatting instructions have the reader make the English stitch first and the French stitch second, just as we do today. In 1851, an anonymous woman wrote a book called, Tatting Made Easy, in which the author described the joining of picots, using neither a sewing or netting needle but, instead, a small crochet hook. The hook was used to draw the thread through the loop, thus joining the picot to the next ring. (This is the same method we use today for joining picots if our shuttle is like a period shuttle and does not have a convenient tip or hook on the end.) Her method described the process of joining the picots as such, �Lay the loop under the pearl [picot] to which it is to be joined.� The loop was pulled through picot using a small crochet hook or tatting pin, and the shuttle was then passed through the larger loop. She made her picots in the middle of double stitches, instead of between two double stitches. Mlle.

Riego, not crediting "The Lady," claimed this technique as her own, adopting the method of joining picots, and made no further mention of using a needle to join them. In 1861 Reigo stated in her book, Tatting:Edgings and Insertions, "This fashionable Art has been little used for the purpose to which it is now applied, as by the previous method, it wanted firmness and strength, but by a careful study of the work, and a new method of joining this difficulty is obviated, and these patterns will be found as durable and wash as well as those in crochet or knitting." In a set of instructions that appeared in the January, 1856, issue of Peterson's, the author described period tatting forms. "Common tatting is merely a length of tatted loops [rings], with or without picots." Trefoil tatting [also called the shamrock stitch] is done by drawing up tightly three loops [rings], made quite close together, and then leaving a short space before making more. The Trefoil is sewed into shape afterward with a common sewing needle.

Other early tatting patterns were similar to the above common tatting edge, but the rings were only partially drawn up, which made them look like a scallop. The thread between the scallops could be left plain or a buttonhole stitch could be worked on the thread between the two ends. Another pattern was a large scallop with smaller scallops around the larger one, and a final pattern was a large circle of double stitches completely surrounded by small scallops decorated with picots and the center was filled in with Pointlace stitches. These patterns were used to form edgings, insertions, or the larger ones could be used a decorative medallions. Modern tatting makes use of both rings and chains. Chains differ from rings in that rings are made with only one thread and shuttle, and usually begin and end at the same point; chains, using two threads and two shuttles or a shuttle and ball of thread, begin and end at different points. The chain is used to join rings in order to form a particular pattern.

In early tatting edging patterns, some rings looked like scallops in that they were not closed (one can usually see the connecting thread between the two ends) and resembled chains, but on further reading one discovers that they were formed using one shuttle and one thread, leaving the ring only partially drawn together. Other design components that resemble modern chains were really buttonhole stitches worked on the thread (now known as a "false chain") between the rings. Oftentimes picots were included on the �false chain� while using a buttonhole stitch. The chain that we know today was not developed until Mlle. Riego introduced it in her book, The Royal Tatting Book, in 1864. Mrs. Pullen, in The Lady's Manual of Fancy-Work, called this �false chain� a "bar" and her instructions were very similar to those of Mlle. Riego. In her first books, Reigo used the "false chain" but in 1864, she briefly described the method for making a true chain using two separate threads; thus the true chain was created. She instructed the reader to use two shuttles, one red and one white.

"...Turn this oeillet [ring made with the white shuttle] down under the left thumb; the stitches between the oeillets are now worked, using the other thread instead of commencing a loop, thus - place the thread from the red shuttle between the second and third fingers of the left hand, holding it about two inches from the work, and work six double stitches on this thread, so that the white shuttle will form the foundation or drawing thread, and the other the six stitches; drop the white shuttle, take the red in the right hand and work with it. She again described the chain in her 1865 book, The Complete Tatting Book; she still did not call it a "chain" but called it "a straight thread." (The word �chain� was not used until well into the twentieth century.) This technique of using rings and/or rings and chains was later called "single" (rings only) or "double" (rings and chains) tatting. The use of two threads for chains, strengthened the work and made possible a number of variations in patterns.

Tatted designs developed before 1864 did not have true chains, and it was several years before the true chain was common in patterns because the new technique was not immediately adopted. The first references I found (other than Riego�s) using a straight thread or true chain were in Peterson's in the February, 1866, issue and in Godey's in September, 1867. T he Josephine stitch, knot or picot (small rings made of single stitches, using only the English or French stitch), was named after Napoleon Bonaparte�s empress and was used in early French tatting. Even though the Josephine knot was mentioned in some period patterns, it did not seem to have developed widespread acceptance until Therese de Dillmont wrote the book Encyclopedia of Needlework in 1886. She built some of her concepts on Mlle Riego�s, but went on to develop additional improvements. In an 1868 issue of Harper�s Baazar there were instructions for using a crochet hook for tatting. The illustrations show a crochet hook being used much like modern tatting needles, with the stitches being formed on the hook/needle and the thread being pulled through the formed stitches.

Other than this reference, I have not seen mention of this method, but it seemed similar to Japanese hook tatting which was introduced in the 1970s. Tatting Tools: Period and Modern Some modern tatting shuttles look much the same as they did in the mid-nineteenth century. In period publications tatting shuttles are described as being made of silver, mother of pearl, wood, hard rubber, ivory, steel, colored bone in black, red or white, horn, or tortoise shell and some fancier ones were inlaid with pearls or preciousgems. Shuttles were described thus: "The tatting shuttle is made of two oval blades pointed at both ends and joined together in the middle. The shape is important, for a good shuttle contributes materially to the quick and perfect execution of the work... The shuttle ought not to be more than 2 3/4 inches long and 3/4 inches wide... The centre piece that joins the two oval blades together should have a hole large enough in it for the thread, that is to be wound upon the shuttle to be fastened into it. Shuttles came in three standard sizes, the finest, No.

1; the most commonly used medium size, No. 2; and the largest, No. 3, and did not have the sharp point or hook on one end as some modern ones do. (Shuttles did not start having points on one end until the early twentieth century.) There are many period style tatting shuttles in various sizes available in shops or catalogues that specialize in lace-making supplies. They are made in bone, ivory, horn, silver, various woods, mother of pearl, and plastic that resembles tortoise shell or bone. Tatting pins, sometimes called purling pins, were usually mentioned in period publications and were apparently the invention of Mlle. Reigo. They were used to either form the picots or join the picots to one another and were made in four sizes, with No. 4 being the largest. The pin assembly included a ring of bone or brass, which was attached to a chain about three inches long, worn on the thumb of the left hand, with a small crochet-like hook or long, blunt tipped needle attached to the end of the chain. Some sources, including Mlle.

Reigo, also suggested as an alternative, using a large blunt rug needle attached to a silk braid or coarse thread with a loop on the end for the thumb. In her book, Tatting, Pam Palmer quotes from Treasures in Needlework(1855), where the use of a tatting pin is described: "The pin is used for making an ornamental edge....thus, slip the ring on the left hand thumb, that the pin attached may be ready for use. After making the required double stitches, twist the pin in the circle of cotton, and hold it between the forefinger and thumb whilst making more double stitches: repeat. The little loops thus formed are called picots. S ince many modern shuttles have a sharp point or a crochet-like hook on one end, and we do not usually need the pin for joining picots, and with experience, a pin is not needed for forming the picots. A pin would be needed, however, in using a period tatting shuttle with a correct design in an interpretive situation. Silk, linen, or cotton thread was most commonly used for tatting because a strong, smooth thread was needed to produce a neat appearance.

At first, silk thread was preferred because cotton was not strong enough. But in 1835 John Mercer developed the mercerization process for cotton. That process made a stronger thread and gave it a smooth finish; it then had the two qualities that made it well suited for tatting. Even in later years, however, silk thread was used for collars and the fancier pieces. Mlle. Riego also suggested that wool could be used. A number of sizes of cotton thread were used for period tatting and ranged from size 20 to 120, with the latter being the finest. Modern tatting thread is No. 80 which is very fine and tends to break easily if too much pressure is used closing the rings. For most projects, I use thicker No. 20 cotton thread; it makes a sturdier finished product, but is not coarse or chunky looking as with some even larger threads (thread is now available up to size 5). Most of the tatting patterns suggested which kind and what size of thread to use, and in particular Mrs. Beeton's Book of Needlework included a rule of thumb chart which indicated what size of thread to use for a particular type of project.

She also indicated that on average two yards of thread were needed per square inch of tatting using a single shuttle and three yards of thread using two shuttles. In Peterson's, January, 1856, the author stated: "The thread used for frivolite should be both strong and soft; something like knitting-cotton, indeed, but of a rather different kind to that fabric. The only article really suitable for this work is manufactured by Messrs. Walter Evans & Co, of Derby, who recognizing the unfitness of all other cottons for this purpose, have spun a thread expressly for tatting. This article is at once so soft that it never twists, and so strong that it will bear the jerk with which the knot is formed. It is made in three sizes, termed Evans� tatting cottons, Nos. 1, 2, and 3." Mrs. Pullen also suggested using the thread of Walter Evans & Co. since it was strong enough to "bear the peculiar jerk" of tatting.

Most of the period tatted pieces we find today were made from either white or ecru thread, Riego sometimes recommended using a strong color thread, including gold tatting cord, black, deep green, garnet red, tones of violet or indigo blue. Variegated or ombre shaded thread was also used, but the variegation was not multi-colored; it was dyed with different shades of the same color. Today the colored threads are not always easy to find in sizes larger than No. 80, but several European companies make in it the No. 20 size. Silk thread is also available from some suppliers. The shuttle, tatting pin and work were often kept in tatting bags or cases. In 1866, Mlle. Riego advertised (no picture of the case was shown) a leather tatting case that was designed to hold "Book of Instructions, cottons and every requisite for the work. It is made in Russian leather, and forms an elegant little work-box for presents, &c." There were also small tatting cases of covered cardboard or wood made to hold one�s supplies for tatting. Mrs.

Beeton gave directions for a small drawstring bag of linen that was three and three-quarters inches high and three inches wide, and was trimmed with simple tatted lace. Annie Frost pictured a circular French kid tatting case, lined with silk. In the June, 1870, issue of Godey's there was a scarlet merino covered cardboard cylindrical tatting case which was then embroidered with decorative stitches. Period Uses of Tatting Early tatting was used for the edging and trimming of collars and cuffs, complete collars both plain or mourning decorations on garments, and insertion for various items. There were a few wider trims, but most were fairly narrow and a few of the items were large pieces, made up of a number of individual motifs. Sometimes the tatting was appliqu�d onto a net base cut in the shape of the collar or cuffs, or the tatting was formed into a solid mass by joining the rings with point-lace stitches.

As tatting techniques improved and the use of the true chain became more widespread, tatting became more intricate, being used for trimming petticoats, drawers, nightdresses, collars, cravats, handkerchiefs, caps, and pincushions. There were pattern for d'oyles (doilies), antimacassars, tidies, parasol covers, cushion covers, and collars that were entirely tatted. Larger medallions were used singly for decoration on garments or joined together to make larger pieces. It is interesting to trace the development and improvements in tatting by studying the different patterns and techniques as the years progressed. Learning Tatting Tatting has been described as one of the most difficult crafts to learn, but once learned, it is thought to be the easiest to do. For most people wanting to learn tatting, I would strongly recommend enrolling in a tatting class rather than relying on a just a book or video. A regular instructor usually has the experience to teach as well as be able to recognize errors in technique, whereas a book or video cannot provide any feedback if a problem does develop. A friend who tats also may be able to provide instruction and recognize and correct errors.

Ten Tips for Using Period Tatting In An Impression If you are considering doing tatting at an event or creating a period-pattern tatting piece to use for trim, keep in mind several points. 1) If you only want to do modern needle tatting and have some tatting on a collar or edging, the appearance of the finished work is the same. However, modern needle tatting is not a correct activity for the Civil War period. If you wish to do tatting in public at an event, you should learn to use a shuttle. 2) Try to use a shuttle that looks like a period one. (Don�t rely on merchants to know the difference, unless they have considerable knowledge in period needlework tools. Use the illustrations and descriptions in this article to guide you.) You don�t have to spend a great deal of money on these shuttles, and a large variety is available in a number of materials. Don�t use a shuttle with a hook or sharp point on one end; granted it is easier to use one with a point, but, if you want to be correct, use one that has blunted ends. If you do locate an antique shuttle, use it with caution.

Sometimes it is not practical to use an antique shuttle because the points may be spread too far apart from previous use. 3) If you want to try using a netting needle for tatting instead of a shuttle, make sure you use the correct size netting needle for the size thread that you are using. So far, I have only been able to locate sources for one size of netting needles, and not the numerous sized netting needles mentioned in period publications. 4) Don�t be discouraged when using period patterns. Sometimes they require several attempts and re-reading the directions as well as re-examining any illustrations. I have found that some of the engraved period illustrations just showed how the piece �should� look and most of the time were not an exact reproduction of the directions given or sometimes a mistake occurred in printing the directions. It is frustrating, but when working a period pattern, keep trying to find the happy medium between the picture and the instructions. And always work out a pattern successfully before demonstrating it at an event.

5) When tatting at an event, unless you are an experienced tatter, keep the pattern simple, so if you are interacting with the public or just visiting with other interpreters, you don�t have to concentrate as much on your work. A great many of the early period patterns were very simple and one should not have difficulty in finding several uncomplicated but satisfying patterns. 6) If your interpretation is geared for before 1864, take care that your edging does not contain modern chains or other later innovations; use period patterns applicable to time you are portraying. Old patterns do exist but you will have to look in original or reprints of period publications to find them, as they are seldom reprinted in modern tatting books. 7) If you have to carry tatting instructions with you, try to make them look period. Since reprinted books don�t have the correct appearance and old needlework books look too old, it is difficult to use a book in your impression. As an alternative to using a book, if I need a pattern for reference, I write out the pattern in period script on white blue-lined paper note paper, so that it looks as if I copied the pattern from a book.

8) In the January, 1856, issue of Peterson's, and Annie Frost stated in her book, �To do tatting well requires a cool, dry hand.� I have a problem tatting at events in hot weather; my hand will perspire and when the ring is pulled together, the thread tends to break, sometimes even in the No. 20 size. Also, perspiration from your hands may soil your work. Try to do your tatting during cooler weather or at indoor events. 9) Use a small box to store your tatting or make a tatting case or bag for your shuttle and work; since this will help keep your tools together and your tatting clean and untangled. A small wooden box or covered papier-mache box would be good or one may use one of the instructions for tatting cases in later period publications. You could also construct a simple cotton or linen bag instead of a tatting case. 10) Happy tatting and have fun. I hope to see more tatters at events. There are many tatting tools and numerous colors and sizes of threads available from various vendors that specialize in lace-making supplies, of which a number are listed on the Internet.

Using any of the search engines, look under tatting, lace-making or needlework to find available sources. NOTE: I did not include basic tatting instructions, either period or modern, in this article, due to its considerable length and the ready availability of modern tatting instructions. In the bibliography, I listed a number of primary sources for correct patterns for the time period. Some of those publications have been reprinted, as noted in the bibliography, and others such as Godey's and Peterson's are available through antique book dealers, special collections in some libraries, and on microfilm. There are a number of needlework books that were originally published in England and may be available for viewing in libraries or museums in England. I would like to thank Elizabeth Bowling, Barbara Foster, Linda Gray, and Janice Jones for sharing their primary references. I would not have been able to so as comprehensive a history of nineteenth-century tatting without their generosity. I also wish to thank Elizabeth Bowling for her illustrations of the various tatting tools.

Question: If you were involved the craft of tatting what would you be making?
Answer: Lace