Piney Woods Tatting

Tatting is believed to have evloved from an ancient form of knotting that originated in the Middle East.  The earliest known examples were found on the burial garments of Egyptian mummies.  As a term, tatting first appeared in a poem entitled The Royal Knotter, written by Sir Charles Sedley in 1707.

Mademoiselle Eleonore Riego de la Branchardiere, who was half-Irish and half-French, was the first tatting artist of note.  In 1848, Mlle. Branchardiere began teaching tatting and writing what is thought to be the first instructional tatting pattern books.  She is even credited with the innovation of the chain, which provided an even wider array of design options.

When tatting became popular in the 19th century, wealthy ladies openly displayed their gentle feminine arts by tatting delicate laces made with shuttles of precious materials (gold, silver, ivory, etc.).  Some of these shuttles were even jewel encrusted.  Tatting though, was not limited to the wealthy.  It was a popular art among all the social classes and subsequently became known as "beggar's lace".  This term was not meant to be derogatory.  It simply inferred that tatting was available to even the poorest needleartist.

Tatting may be made by any one of three traditional methods:  needle, shuttle, and finger.  Most people are familiar with the shuttle, but needle and finger tatting produce the same results.  In shuttle and finger tatting the double stitch is formed on the thread.  In needle tatting the double stitch is formed on the needle, and then is slid off to form the chains and rings.  Currently, there are two new methods gaining in popularity.  Japanese hook and cro-tatting are avidly practiced by some contemporary fiberworkers.

Through the centuries, tatting has experienced many phases of popularity.  In the early 20th century, Anne Orr produced many innovative and beautiful works of tatted art.  Her patterns are still available to modern needleartists.  There have been many more tatting designers that have further enhanced this beautiful art.  Unfortunately, many of the older publications did not credit these talented artists with the recognition they so richly deserved.  Presently, there are many tatters who have published patterns of their work.  With the advances of technology, I hope that other tatters are encouraged to put their work in a forum where all who are interested in needlearts may admire their work and be inspired to do their part to preserve the exquisite art of tatting.

As for myself, through public demonstration, forming a local tatting guild, teaching classes, giving lectures and exhibiting my original artworks, I hope to do my part in preserving tatting.  What a shame it would be if tatting were truly a "lost art"!