A 15th Century Italian Quiver

Master Johannes the Black of the Athanor

Primary Source: The Martyrdom of the Pilgrims and Funeral of St. Ursula, a painting of about 1493 by
Carpaccio. In the detail seen on p. 194 of Renaissance Dress In Italy, 14001500 by Jacqueline Herald
(1980) can be seen an archer with a short brocaded doublet and a pearled cap, and at his side hangs an elabo rately tooled quiver. In making such a fine piece of equipment, one can learn many simple but beauti fully effective techniques of the medieval leatherworker. The assembly is so simple, and modeling such an easily
gained skill, that surely others will find such a project of some merit.
To begin, it is necessary to know the length of the arrows for which the quiver is to be made. Measure the
length of these arrows from tip to where the fletching (feathers) begin. Now add 1 inch to this for a seam allowance along the bottom where the quiver will be sewn together. I suggest that the quiver be made of a dark
leather with a smooth surface and of a moderate weight (about 6 oz. worked fine for me). Enlarge the pattern in
Fig. 1 until it is of the correct length for the arrows you have measured, then make a quiver out of paper, just
to be sure that everything is rightly measured. Now cut out your leather, making sure that when you hold
the two pieces together, the flesh (rough) sides are inside the quiver. When this is done, you are ready for the
biggest portion of this project, tooling the front of the quiver. Remember, youll be tooling the front only.
I have presented the original pattern of the quiver in the painting, as closely as has been possible. Where it was
necessary to alter it or fillin, Ive tried to use only contemporary sources, or other portions of the design
on the same quiver. The center boss is extremely indistinct, so much so that Ive hesitated to do even that
much. Choices for a design might include a heraldic motif of the owner, large letters of an Italian hand of the
period (initials of the owner, perhaps) or as Ive suggested in my tough sketch, an allegorical motif of classical
influence, as was used so much in the decor and architecture of the period. Transfer the designs to the
leather with carbon/transfer paper, or by hand. Some modification of the design will probably be necessary in order to accommodate a larger or smaller dimensioned quiver than the one which Ive included.
Tooling: Take a sponge or cloth and evenly dampen the surface of the entire piece to be tooled. DAMPEN,
NOT DROWN! This is known as casing the leather, and permits the leather to take an impression from pressure. After the leather has had one or two minutes to absorb water, take a modeling tool or an orange wood
stick (used for manicures) to go over the outlines youve transferred, and to shape contours into them. This
is going to take awhile, but youre going to be amazed at how good its going to look when youre finished.
If you get in a hurry, its going to show in the finished product, so take your time. It is important not to
model/tool within 3 inch of the edge; remember, youve still got to sew this thing together. Just keep the
pressure you use on the leather as even as possible, and re dampen (lightly!) the leather as it starts to dry,
from time to time. When complete, let it sit aside for a couple of days to dry.
Painting: This project lends itself well to the use of contrasting colors, and particularly to the use of
metallic gold. In period, it would have most likely been gilded with gold leaf and Armenian bole (red clay),
though gold paints were known. Any non-water based gold paint will probably do well, if the instructions are
followed. Even gold paint can be burnished (polished) after it dries, by applied pressure with a smooth object,
such as a bit of tumbled stone. Acrylic paints work well for the colors, and provide some protection to the
leather, depending on how completely its painted over. Overall, Id suggest that the central boss and edge be of
the contrasting colors, and that no more than two colors be used in the piece in order it avoid it taking on a gar ish appearance.
Details of construction are shown in the diagrams. Use cobblers stitch on the seam, and be sure to double sew
the parts attached to the rings, where stress will doubtless be greatest on the quiver. Tubes such as those
used in golf bags may be used to good effect inside the quiver to hold arrows apartjust cut them to length. I
leave you to devise your own means of suspending the quiver from your belt.