« 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).

Beaded shirt. Tunic has a high, rounded neck and long sleeves, with a wide fringe cut into the wrists and hem. The material is red stroud felt, with raw brown material along the hem. Heavy beaded panels cover the neck and shoulders front and back as well as the tops of the arms, with colour blocks in white and blue, and geometric patterns and crosses in red, white, yellow and green. A leather fringe hangs along the edges of the neck panel.

Small flint purse. Pouch is stiff leather, with a front flap outlined in decorative convex metal squares that surround three protruding decorations, two of which hold a turquoise stone. The flap covers an interior pocket meant to hold kindling or flint. At bottom of purse is a thick, curved, steel flint-striking platform inset with gold floral motifs. Top of purse is edged in metal with a squared loop holding a leather thong which would enable the flint purse to be hooked to a belt.

Retablo altar. The outside of the box is a light yellow colour with a large floral motif on the door both inside and out, and a series of small lines on the outer sides. In the box is a scene with small plaster figures vibrantly painted: three human figures stand at back, behind several animals including sheep and a donkey. On the side walls are two large yellow birds. The walls are painted a light blue, with a green floor containing remnants of gold and bronze coloured paint. The outer structure is a small box made of wood with a pediment above a door that opens on leather hinges.

Retablo altar. The outside of the box is light yellow with large floral motifs on the sides and on the inside and outside of the doors. Inside are two scenes with small plaster figures vibrantly painted. At top is a nativity scene showing a large baby laying in a manger surrounded by the parents and people praying, and a man playing a small guitar. Donkeys and sheep surround the manger, and cherubim protrude from the side walls. The rear panel of the scene is painted as a dark blue sky with a large gold star at centre. Below this scene is a smaller one showing people in traditional clothing attending an outdoor church service, with figures playing musical instruments. Cattle mingle in the crowd. A large cactus sits to one side, and there is a small building in a back corner. The side walls are white and decorated with multicoloured dots. The outer structure is a box made of wood with a pediment above two doors that open on leather hinges, contained by thread that passes through metal rings to keep them from opening too far.

Dog whip. Used with sled dogs, the whip has a wood handle with curved grip and three faceted sections each showing a different animal. Bottom section has an incised wolf or dog on either side; central section has a seal; and third shows a fish. All are filled with grey paint. Top side of facets have a green diamond, red arrow, and a red hook carved into them. Carved squares between the sections are painted red. The whip is attached to the end of the handle through holes in the wood. It is made of looped strands of black and brown leather woven to create a hard but flexible cord that diminishes in diameter toward the tip.

Ookpik. Toy owl made from light yellow seal skin on front and brown on back. Head is large, body flares out slightly at shoulders. Eyes are circles of leather, with a brown leather triangle serving as a beak below. Feet are also leather and have three toes. Suede base is round and stitched to body with black thread.