Case No. 2:

One of the finest examples of the Indian woman’s native creative arts is found in porcupine quill decoration. The artist formerly prepared her own dyes from berries, roots, barks, etc. Today, aniline dyes are used almost exclusively. Steps used in the preparation of quills for bark decoration are as follows:

The artist usually divides the quills into four lengths and stores them in separate containers because they differ in length and thickness (one to four inches long and 1/16 to 3/32 inches thick). The quills are washed well in soap root before being dyed, and stored. When she is ready to use the quills she softens them in her mouth. The warmth and moisture are most effective and it is thought that the saliva contains some special property that makes them more pliable. She generally keeps a number of the quills of the same size and color in one cheek with the points protruding from her lips, pulling out a quill as it is needed. Small holes are punched in the bark with an awl and the quill is inserted in these holes. The ends are bent over on the back side of the bark to hold them in place. By using quills of the desired length to fit the decoration, it is not necessary to cut them. The quill swells and stiffens as it dries, making it even more secure.

In most boxes, so decorated, a plain undecorated piece of bark is fitted on the inside (or back side) to hide the raw ends of the quills. Three to four thousand quills are required to cover a box the size of the one shown in Plate 1a. Vegetable dyes were used on the quills of this box and have not faded in more than fifty years. (See Plate 1a)