342 



QUILMUK QUINAIELT 



[b. a. fi. 



The stems of pipes were decorated with 

 fine flattened quills, closely woven into 

 a long and very narrow braid, which was 

 wound about the wooden stem. Differ- 

 ent colors were sometimes so disposed 

 along the length of these braids that 

 when they were wound around the stem 

 they made squares or other figures. 

 Careful calculations as well as deftness of 

 finger were required for this style of work. 



Porcupine quills were employed for 

 embroidery from INIaine to Virginia and 

 w. to the Rocky mts. n. of the Arkansas r. 

 On the N. W. coast they were used by 

 tribes which had come in contact with the 

 Athapascans. So far as known, this style 

 of work was not practised by the tribes 

 of California, nor by those of the south- 

 ern plains, as the Kiowa, Comanche, 

 Apache, and Wichita, the porcupine not 

 being found in their country. Quills seem 

 to have been an article of barter; hence 

 their use was not confined to regions 

 where the animal alwunded. This style 

 of decoration was generally put on tobacco 

 and tinder bags, workbags, knife and 

 paint-stick cases, cradles, amulets, the 

 bands of burden-straps, tunics, shirts, leg- 

 gings, belts, arm and leg bands, mocca- 

 sins, robes, and sometimes on the trap- 

 pings of horses. All such objects were 

 of dressed skin. Receptacles and other 

 articles made of birch-bark also were fre- 

 quently embroidered with quills. 



Nearly every tribe has its peculiar cut 

 for moccasins, often also its special style of 

 ornamentation, and these were carefully 

 observed by the workers. The dress of 

 the men was more ornate than that of 

 the women, and the decorations the 

 women put on the former were generally 

 related to man's employments — hunting 

 and war. The figures were frequently de- 

 signed by the men, and a man very often 

 designated what particular figure he de- 

 sired a woman to embroider on his gar- 

 ment. Some designs belonged exclusively 

 to women; there were, moreover, some 

 that were common to both sexes. The 

 decorative figures worked on the garments 

 of children not infrequently expressed 

 prayers for safety, long life, and pros- 

 perity, and usually were symbolic. There 

 was considerable borrowing of designs 

 by the women through the medium of 

 gifts exchanged between tribes during 

 ceremonial observances or visits, and 

 thus figures that were sacred symbols in 

 some tribes came to be used merely as 

 ornaments by others. Some of the de- 

 signs in quillwork were undoubtedly 

 originated by men, while others were 

 invented by women. These were fre- 

 quently credited to dreams sent by the 

 spider, who, according to certain tribal 

 mythic traditions, was the instructor of 

 women in the art of embroidery. 



Technical skill as well as unlimited 

 patience was required to make even. 



smooth, and fine porcupine quillwork, 

 and proficiency could be acquired only 

 by practice and nice attention to details. 

 The art seems to have reached its highest . 

 development among those tribes to whose 

 territory the porcupine was native, and 

 especially among those which had an 

 abundant food supply and whose men 

 were the principal providers — conditions 

 that made it possible for the women 

 to have the leisure necessary for them to 

 become adept in the working of quills. 

 This art, which formerly flourished over 

 a wide area, is rapidly dying out. It is 

 doubtful whether any woman at the 

 present day could duplicate the fine em- 

 broidery of a hundred years ago. The 

 use of the split quills of bird-feathers for 

 embroidery was common among the 

 Alaskan Eskimo, and was also prac- 

 tised by some other tribes. 



The hair of animals was sometimes 

 combined with the quills in forming the 

 figures. The northern Algonquian tribes, 

 as well as the Eskimo of Alaska and of 

 N. E. Siberia, employed the hair of the 

 moose, its pliancy permitting freedom of 

 design, while its texture seems to make 

 it susceptible of taking delicate hues in 

 dyeing; undyed hair was used to blend 

 the colors and to outline the curved, 

 flowing lines of the figures. A few ex- 

 amples of this beautiful aboriginal work 

 are preserved in museums. (a. c. f. ) 



ftuilmur. A tribe hostile to the Alche- 

 doma, the border of whose territory was 

 visited by Fray Francisco Garces in 1774, 

 when he explored the valleys of the Gila 

 and the Colorado, in Arizona. They 

 were apparently n. of the Alchedoma, 

 and from their locality might possibly be 

 the Mohave. See Garces, Diary (1774), 

 45, 1900; Bancroft, Ariz, and N. M., 390, 

 1889. Cf. Gueijmura. 



ftuiman. A Chumashan village be- 

 tween Goleta and Pt Concepcion, Cal., in 

 1542.— Cabrillo, Narr. (1542), in Smith, 

 Colec. Doc. Fla., 183, 1857. 



ftuina. A former village, probably Sa- 

 linan, connected with San Antonio mis- 

 sion, Monterev co., Cal. — Taylor in Cal. 

 Farmer, Apr. *27, 1860. 



Qumahaqui. A town on a large river 

 between Guatari (Wateree) and Issa 

 (Catawba), probably in South Carolina; 

 visited by the expedition of Juan Pardo 

 in 1567.— Juan de la Vandera (1569) in 

 Smith, Colec. Doc. Fla., 15-19, 1857. 



Quinaielt. A Salish tribe on Quinaieltr., 

 Wash. , and along the coast between the 

 Quileute and the Quaitso on the n. (the 

 latter of which probably formed a part 

 of the tribe), and the Chehalis on the s. 

 Lewis and Clark described them in two di- 

 visions, the Calasthocle and the Quiniilt, 

 with 200 and 1,000 population, respect- 

 ively. In 1909 they numbered 156, un- 

 der the Puyallup school superintendency. 



