11 



and the gulf are known collectively as Montagnais. Though 

 divided into numerous local groups or tribes through this ex- 

 tensive tract, their culture follows certain lines of similarity, 

 forming two general types, that of the interior and that of the 

 St. Lawrence coast. The art motives of both are fairly homo- 

 geneous except that the characteristic etching on birch bark so 

 prevalent among the interior divisons is practically absent on the 

 coast, where birch bark is very scarce. The art techniques of 

 moose hair embroidery and painting, however, were of common 

 distribution, having given place in later times to beadwork, silk 

 embroidery (the chain stitch), and a form of embroidery consisting 

 of animal wool braid sewed upon leather or cloth to form designs. 

 This braided woolen embroidery is quite intricate. Out of wool 

 combed from the pelts of wild animals, threads are woven into 

 cords in the manner shown in the accompanying sketch, as ana- 

 lysed by Mr. W. C. Orchard (Fig. 14). This may be termed a 

 double braid on a double thread foundation. 



Among the interior river and lake Montagnais, one of the 

 richest fields of art lies in the already mentioned birch bark etch- 

 ings. In this the designs are produced upon the surfaces of 

 birch bark receptacles, baskets, etc., by scraping away the dark 

 coating of the winter bark, leaving the light under surface as a 

 background. The patterns consist of thin paper-bark stencils 

 made by folding and biting designs in them with the teeth. 

 These are tacked as patterns over the parts to be ornamented and 

 scratched away round the edges. Examples of this work are 

 shown (Plate IX), and also a set of designs copied from other 

 specimens (Fig. 15 ). 



The former design types fall only in a very general way within 

 the double-curve province. As will be observed, the motive is 

 much obscured by the broad line figures and the spreading elevat- 

 ed interiors. They are, however, very artistic. These figures 

 are known among the people as trees, spruce or balsam, only in 

 the most general indefinite way. They convey no symbolism 

 so far as I have been able to learn. In the beadwork, silk and 

 wool cord embroidery, floral patterns are most commonly em- 

 ployed, the figures in general being known as wdpuywun 1 

 "flower". In some examples, however, an animal realism creeps 



S (Greek gamma) represents a velar sonant stop. 



