« Also associated with percussion firearms were cap pouches, which were large enough for the insertion of two fingers (Speck, 1935, p. 213). The collection contains three, all of which are highly decorated. One is made of red wool felt with green cotton tape binding and a strap of the same material. There is light blue cording around the inner edge of the binding. The flap closes with a snap and the front is ornamented with embroidered floral designs in blue, purple, and yellow cotton thread (fig. 22d). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.12, fig 22d (p.50). « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« Before the acquisition of breech-loading firearms, the Montagnais-Naskapi, like other Indians, used muzzle-loading percussion guns. These required the carrying of shot pouches, of which there are are five in the Speck collection. The size of the shot pouch was determined by the size of a hunter's fist, since he would be reaching in for a hand-full of shot (Speck, 1935, p. 213).» Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Another pouch of black felt has edges bound with red and white striped cotton tape. Along the lower edge of the flap is a row of red, yellow, white, and blue seed beads. Below the flap is a crude beaded floral design utilizing beads of the same colors. The strap, which is short, is made from a narrow strip of moose skin (fig. 21c). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11, fig 21c (p.49). « Speck (1935, pp. 213-215) notes that the period during which shot pouches were used most extensively corresponded with the availability, at posts of the Hudson's Bay Company, of beads and a variety of cloth fabric of different colors. Thus the pouches, which were made by women, became one of the most important vehicles for Montagnais artistic expression. As with other decorated objects made and used by these Indians, the designs on shot pouches served as the means by which the spirits of individual owners achieved control over game animals. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« Before the acquisition of breech-loading firearms, the Montagnais-Naskapi, like other Indians, used muzzle-loading percussion guns. These required the carrying of shot pouches, of which there are are five in the Speck collection. The size of the shot pouch was determined by the size of a hunter's fist, since he would be reaching in for a hand-full of shot (Speck, 1935, p. 213). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Another pouch of black felt has edges bound with red and white striped cotton tape. Along the lower edge of the flap is a row of red, yellow, white, and blue seed beads. Below the flap is a crude beaded floral design utilizing beads of the same colors. The strap, which is short, is made from a narrow strip of moose skin (fig. 21c). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11, fig 21c (p.49). « Speck (1935, pp. 213-215) notes that the period during which shot pouches were used most extensively corresponded with the availability, at posts of the Hudson's Bay Company, of beads and a variety of cloth fabric of different colors. Thus the pouches, which were made by women, became one of the most important vehicles for Montagnais artistic expression. As with other decorated objects made and used by these Indians, the designs on shot pouches served as the means by which the spirits of individual owners achieved control over game animals. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« The Speck collection contains nine tobacco pouches. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.12. « The remaining seven tobacco pouches are rectangular in shape and close with semi-circular flaps. » Ibis « Two pouches from the neighboring Chicoutimi band are made of imported sealskin. The largest of these is edged with dark green cotton tape and ornamented with floral designs in red, pink, white, and yellow beads on the flap and on the back. Around the edges are small loops of red beads (fig. 22a). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.13, fig 22a (p.50). « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« Closely resembling a tumpline is the ceremonial game carrying string, which was an important item in the religious equipment of hunters and was related to the placation of game animals. Such "strings" and their significance are described by Rogers (1967, p. 114) and, in considerable detail, by Speck (1935, pp. 203-212) and Speck and Hyde (1921). The collection contains a single example made of two pieces of tanned moose skin 233 cm long which widens in the center to a width of 3 cm. The two pieces are sewn together with twine at the center of the widened section. At intervals along the entire length are sewn strips of red wool felt and short pieces of silk-wrapped cording which symbolize game (fig. 32k). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec."" Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.19, fig 32k (p.60).

« A gun case of heavy black wool felt is ornamented with a strip of serrated light brown cotton cloth sewn into the seam on the lower side. At the opening are strips of red and green wool felt and a strip of red cotton tape feather stitched with yellow yarn; a similar set of strips occurs at the center of the case. At the distal end a tassel of red, blue, green, and purple strips of silk and wool felt is sewn into the seam (fig. 19c). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11, fig 19c (p.47).

NORTHERN HAIDA MASTER CARVERS. WRIGHT, ROBIN K., 2001, Publisher: UNIVERSITY OF WASHINGTON PRESS

The Elizabeth Cole Butler Collection.