Tatting: Technique and History

Rating:
Summary: A lucid look at the history of tatting.
Review: Elgiva Nichols was this century's best writer on the art of tatting. Sadly, this is the only book of hers in print. She was a major exponent of what is known as freeform tatting (a fine example is given in this book), and was probably the most technically accomplished tatter of her day. The book traces tatting's refinement as an art to Mlle. Riego (a needlework supplier in mid-ninteenth-century London), and analyzes the various techniques she introduced. Riego's skill was astonishing, for she nearly brought tatting to the state it is today -- although I have difficulty believing she did this all by herself, as she must have been in contact with many women who practiced the art as well. Anyway, Nichols' book also contains the usual misinformation regarding the antiquity of tatting (it's only about 160 years old), and incorrectly identifies Queen Marie of Roumania as Lady Katherine Hoare's co-author (it was actually Queen Elisabeth), but these are minor gripes. This book has much information that is good, as well as much brilliant speculation. Nichols had a critical mind, and infused her writing with a sharp wit and sometimes humorous viewpoint. All-in-all, an enjoyable and satisfying read.

Rating:
Summary: A lucid look at the history of tatting.
Review: Elgiva Nichols was this century's best writer on the art of tatting. Sadly, this is the only book of hers in print. She was a major exponent of what is known as freeform tatting (a fine example is given in this book), and was probably the most technically accomplished tatter of her day. The book traces tatting's refinement as an art to Mlle. Riego (a needlework supplier in mid-ninteenth-century London), and analyzes the various techniques she introduced. Riego's skill was astonishing, for she nearly brought tatting to the state it is today -- although I have difficulty believing she did this all by herself, as she must have been in contact with many women who practiced the art as well. Anyway, Nichols' book also contains the usual misinformation regarding the antiquity of tatting (it's only about 160 years old), and incorrectly identifies Queen Marie of Roumania as Lady Katherine Hoare's co-author (it was actually Queen Elisabeth), but these are minor gripes. This book has much information that is good, as well as much brilliant speculation. Nichols had a critical mind, and infused her writing with a sharp wit and sometimes humorous viewpoint. All-in-all, an enjoyable and satisfying read.

Rating:
Summary: A Must for Serious Tatters
Review: Originally published in 1962, this is still the most readable history of tatting. Because the book is not actually a pattern book, inexperienced tatters may be somewhat frustrated at the gloriously beautiful photos with few instructions, although the photos are clear enough for an experienced tatter to use as the primary reference. The text is clearly written, sometimes with low-key humor, and rather entertaining to read. Anyone with an interest in tatting history and technique should have this book.

Rating:
Summary: A Must for Serious Tatters
Review: Originally published in 1962, this is still the most readable history of tatting. Because the book is not actually a pattern book, inexperienced tatters may be somewhat frustrated at the gloriously beautiful photos with few instructions, although the photos are clear enough for an experienced tatter to use as the primary reference. The text is clearly written, sometimes with low-key humor, and rather entertaining to read. Anyone with an interest in tatting history and technique should have this book.

Rating:
Summary: Not great for learning tatting or patterns . . .
Review: Since I learned to tat, I've heard Elgiva Nicholls' name mentioned enough to know that she figures prominently into the world of contemporary tatting book authors. Nicholls has written several books on tatting, including this one published in 1976. The book is divided into three parts; the first section, Basic Principles, is directed toward beginning tatters but is full of information that I think tatters of any skill level would find interesting. She writes an excellent explanation of how the basic tatting knot, the lark's head knot, is formed. I found this intriguing because I had never really stopped to think of how tatting is composed. After reading this section I have a better understanding of what I'm actually forming with the threads, rather than just going along and not knowing what I'm doing.

Nicholls also includes detailed directions on winding and holding a shuttle, great instruction for any beginner but especially for those trying to teach themselves without the help of an experienced tatter. She starts off by explaining how to make a chain rather than a ring because by using two colors for the chain, a beginner can easily see if they're doing the stitch incorrectly. Nicholls instructions are good, but there are few drawings, and as tatting is such a visual art, it's hard to make out exactly what she's saying without illustration. The instructions would be wonderful, however, if used as an accompaniment to another set of directions featuring visual aids.

Also included in this first section are instructions on how to begin a piece of tatting with a chain (something I couldn't figure out how to do for a long while); a examination of the importance of thread tension; and an in-depth explanation of how Nicholls likes patterns to be presented (preliminary description, construction, and a diagram). She continues with six edging patterns for beginners and a discussion of her names for certain groupings. For example, she refers to three rings together as a 'clover'; a ring-chain-ring-chain pattern as a 'scroll'; and so on. Nicholls also explains her system of defining medallion patterns by classifying them according to how their center is formed, and gives examples of each kind. This beginning section of the book concludes with directions on how to join new thread, how to undo your work, and how to finish a piece. She gives suggestions on what to do with tatting, such as using it for trimming, church items, and around the house.

The second part of the book, Enlarging the Scope, is full of information for the more advanced tatter. It includes instruction on pearl tatting, using two shuttles, node stitch, Josephine knot, and the locking stitch. One application of tatting that I found interesting was the use of rings as buttonhole loops. This section also discusses false picots, mock rings, and making consistent picots. Nicholls gives some creative variations on the regular picot, including twisted picots, frayed picots, using picots for a feather effect, and the rose picot. She goes on to demonstrate the mock picot (also known as climbing out of a ring, very effective for many doilies, snowflakes, medallions, etc.) and the mignonette stitch. She briefly mentions using tatting for lettering and using jewels and beads for tatting, although there are no instructions for either technique.

The book's third section is devoted entirely to the node stitch. I found this strange, since this stitch isn't widely used even today (or at least I haven't seen it featured in many patterns). Nicholls does write that she is hoping to spark some interest in the node stitch, and gives instructions on how to write patterns and diagrams and how to use picots, joins and rings with this stitch. I admire her stepping up to try and popularize this underused technique.

I wouldn't recommend this book to someone for the purpose of learning how to tat, but for tatters who've mastered the basic rings and chains, and for experienced tatters who would like a more in-depth look at tatting, this would be a good read.