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, 1400- 1500 by Jacqueline Herald (1980) can be seen an archer with a short brocaded doublet and a pearled cap, and at his side hangs an elaborately tooled quiver. In making such a fine piece of equipment, one can learn many simple but beautifully 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 1/2 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, you'll 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 'fill-in', I've 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 I've 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 I've 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 I've 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 you've transferred, and to shape contours into them. This is going to take awhile, but you're going to be amazed at how good it's going to look when you're finished.

If you get in a hurry, it's going to show in the finished product, so take your time. It is important not to model/tool within 3/8 inch of the edge; remember, you've 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 it's painted over. Overall, I'd 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 garish 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 apart -just cut them to length. I leave you to devise your own means of suspending the quiver from your belt.

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