Tatting Myths Dispelled - A Series

Fig. 1. Embroidery by Mrs. Delany wth knotted couching-thread & linen appliqué. Photo c. 1850 (Hall).

The inaccurate notion engendered by Auld, and nearly all tatting authors who broach the subject, is that knotting was a single handicraft. In fact, the term knotting was used generically to refer to fringing, macramé, a type of coarse needle lace, and several other crafts as well as the knotting of couching-thread for embroidery (Caulfeild and Saward). Delany, in her voluminous correspondence, uses the term to refer to three of these crafts; in one missive, she uses the word knotting to refer to both fringing and couching-thread knotting with only the context furnishing differentiation (2: 606-7).¹

Functionally equating tatting to couching-thread knotting ignores a fundamental fact; tatting does not have the axial symmetry that is necessary for unimpeded couching-thread embroidery. Couching-thread is symmetrical along its length and, for variety, virtually-symmetrical, textural bulk can be added by knotting (see figure 2).

As a symmetrical medium, couching-thread, whether knotted or not, was able to flex in all directions and could be used to embroider any contour that the crafter desired. Tatting, by virtue of its construction, is axially asymmetrical. Tatted rings lay to the side of the line of progression while chains have nodular knot-heads opposite smooth, supporting loops around the core thread. Although tatting can be utilized as appliqué, its limited flexibility and asymmetrical geometry preclude its being used as an embroidery medium analogous to couching-thread.

Fig. 2. Single and double couching-thread knotting and what I believe was Delany's 'sugarplum' knotting.

Describing tatting as "the contemporary art of knotting with a shuttle", while syntactically accurate, is factually misleading for the following reasons:

1. Tatting is made with unique 'turned' half hitch knots; knotting of couching-thread was done with overhand or bullion knots.
2. Tatting is traditionally done with fine, tightly-spun thread; couching-thread knotting was typically done in bulkier, more-textured cordages.
3. Tatting is regularly done with a small (typically 3-4") shuttle, often having closed tips; knotting of couching-thread was done with a larger (typically 6-7") shuttle having open tips.
4. Tatting produces lace; couching-thread knotting added texture to thread for use in embroidery.
5. Tatting is axially asymmetrical; knotted couching-thread is axially symmetrical.
6. Tatting has limited radial flexibility; knotted couching-thread is, radially, very flexible.
7. The generic term knotting was used to refer to the knotting of couching-thread, but was never used substantively to refer to tatting until Auld.

Auld endeavors to support her hypothesis that knotting [of couching-thread] developed into and survives in contemporary form as tatting by referring to a set of summer chair-covers that were embroidered by Delany. She claims that a photograph of one of them shows knotted couching-thread embroidery combined with tatting. Figure 1, from a privately published album (Hall), reprinted in Antiques (Newton), shows this cover. Auld asserts that the photograph (not illustrated in her book) shows "one row of . . . undoubtedly . . . tatted rings" (13). Close inspection does not support this assertion.

Fig. 3. Close up of "undoubted . . . tatted rings" (Auld,13).

An enlargement of the area to which this claim refers is shown in figure 3. Though somewhat grainy at this magnification, one sees not a "row of . . . undoubtedly . . . tatted rings", rather knotted couching-thread laid down in loops. Below this, in the figure, part of a rosette of petals made from cut-out pieces of white linen is visible. These petals were outlined with the same knotted thread as the loops above them and were similarly couched to the blue, chair-cover background.

Despite numerous attributions of tatting to an earlier time, its documented origin remains firmly entrenched in the 19th century. Likewise, attempts to draw a line of descent from couching-thread knotting to tatting cannot justifiably be established; there simply are no intermediate forms . Although this myth is clearly mistaken, future authors will undoubtedly continue to quote it. Hopefully, a few will remember this small article and pass the factual information on to other tatters.

"I am glad your works go on so well, and am sorry I have no knotting of the sort you want done. I cannot promise too much for you till I have finished a plain fringe I am knotting to trim a new blue and white linen bed I have just put up; as soon as that is finished I will do some sugar-plum for you; but I fear you will want it before I can do any quantity: let me know, and mine may lie by till yours is done, and send me the sized knotting you want; I have a good knotting friend also that I can employ I believe for you."

Hoare quotes numerous published misconceptions and claims introduction (British word used here is 'invents') of a netting shuttle for tatting. This style of netting shuttle had been in existence for centuries prior and netting needles of various types had been used for tatting for at least 50 years (Caufeild and Saward) before this book was published. Pl. XLIV (b) shows 16th century "knotting", actually macramé. Pl. LI shows 18th century knotting shuttles. Queen Elisabeth used knotting shuttles for her tatting and these were possibly family heirlooms as knotting had not been in vogue for at least 150 years and hers were made of opal and mother-of-pearl. There is no bibliography and there are no citations.

Whiting, despite numerous memberships and obviously scholarly resources, never made the simple differentiation between tatting and knotting. She refers to purling, "The Royal Knotter", 18th century portraits, and (couching-thread) knotting shuttles all under the aegis of tatting. We know today that this is incorrect. She does not say that tatting developed from knotting. Instead, she repeats the incorrect state of scholarship on the subject current during her day, which misidentified early knotting source material as displaying or referring to tatting. Despite the lack of original scholarship, this book remains an excellent catalogue of needlework implements. There is no bibliography nor any citations to support spurious historical claims.

Benporath, the most prolific of Australian tatting designers, repeats many previous misconceptions, and adds unsupported speculation about Australian immigrants and U.S. pilgrims bringing tatting to their respective countries. Included on page 11 is an Egyptian motif of a woman holding a branch with opposite leaves - the text states that "looping and knotting of threads into circles and rings" was referred to in Egyptian myths and hieroglyphic texts. There is no bibliography nor any citations that support any of the purely fanciful claims and implications made.

Nicholls repeats all of the misconceptions of Whiting, adds those of Hoare & Benporath and then goes on to make speculations about the etymology of the word 'tatting' which are obviously derived from a misunderstanding of etymological derivation entries found in dictionaries at unrelated, but homophonous words. There is a brief bibliography, but no citations. The review of tatting technique is orderly and well-thought-out, the 'history' is unsupported by citations or other evidence.

Palmer presents excellent material on knotting (of couching thread) and tatting. She states, however, that, "Tatting developed naturally and gradually from knotting", without any supporting citations, evidence, intermediary forms or illustrations. Though the remainder of this monograph is nicely done and avoids repeating prior inaccuracies and speculations, this leap of logic presents no basis for its assumption. There is a brief "Further Reading" bibliography and for many points in the tract, supporting material is cited within the text.

Caulfeild, Sophia Frances Anne, and Saward, Blanche C. The Dictionary of Needlework: An Encyclopedia of Artistic, Plain, and Fancy Needlework. 2nd ed. 6 vols. 1887. London: A. W. Cowan. rpt. 2 vols. New York: Dover Publications; Ontario: General Publishing Co.; U.K: Constable and Co. Ltd. 1972: 310-12

Delany, Mary Granville. The Autobiography and Correspondence of Mary Granville, Mrs. Delany: with interesting reminiscences of King George the Third and Queen Charlotte. Ed. Llanover, Lady. 6 vols. London: Richard Bentley 1861-2.

Hall, Lady [later Lady Llanover, see Delany above]. Photograph album, 2 vols. Privately published. c. 1850.

Newton, Stella Mary. "Mrs. Delany and her Handiwork." Antiques July 1969: 105.